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Bollywood Beats Meets Westcoast Hip Hop: Manya Aggarwal On Teaching Teens at The Ghungroo Dance School

Abbie Wilson
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Bollywood Beats Meets Westcoast Hip Hop: Manya Aggarwal On Teaching Teens at The Ghungroo Dance School

In a scene where dance styles meet contemporary music, The Ghungroo Dance School in Stevenson Ranch is expanding its repertoire beyond traditional Indian classical forms. Under the guidance of choreographer and instructor Manya Aggarwal, the school is now bringing the energy of Bollywood hip-hop to a new generation of young dancers. 

Manya is bridging cultural divides and igniting a passion for a dynamic fusion of styles.She is a recent graduate of the California Institute of the Arts with a Bachelor of Fine Arts in Dance Performance, and has toured with Joya Kazi Unlimited as a dancer for her well-renowned production- “Rhythm India: Bollywood and Beyond” by AMP Worldwide which tours once annually. 

The Ghungroo Dance School, traditionally known for its mastery of semi-classical Indian dance, has embraced a broader vision for its students. “We want to provide a studio for dancers to learn from local choreographers like myself, while exploring a range of dance styles, tied to Indian culture,” explains Manya, who heads the school’s hip-hop and bollywood training. 

Bollywood dance relates to the Hollywood of the east, known as Bollywood, founded over 50 years ago in India. Many of the Bollywood films are romantic themes and have choreographed dance songs, which are uplifting in nature. Bollywood dance fuses together eastern and western dance styles, incorporating hip movements and traditional folk elements.

“I believe that dance is a medium with the power to transcend cultural boundaries,” she said. “Whether it’s the energetic Bollywood beats or bassy rhythms of hip hop, every dance style has a place at our school.” This inclusive philosophy is deeply ingrained in the school’s founding belief that dance is a universal language capable of fostering connection and storytelling.

Manya herself brings a wealth of experience and a unique perspective to her teaching. Raised in Mumbai, India, her early training at The Danceworx Performing Arts Academy in ballet, contemporary, jazz, hip-hop and her exposure to bollywood fusion has equipped her with a versatile skill set. Having studied dance her entire life, her specialization in these diverse genres allows her to blend cultural influences from India with American pop culture, creating a distinct artistic voice that resonates with her students. 

The popularity of Bollywood dance in the United States has seen a significant surge in recent years, a trend Manya has witnessed firsthand (it currently has over 22 million hashtags on TikTok). “I have definitely seen it grow, and there are a lot of fans of Bollywood films, music, and even dance,” she states, referencing the rise of Bollywood-inspired TikTok trends. “I am seeing the love and respect grow for Bollywood dance every day as people are fascinated by how fun it is, and how people who aren’t from the culture are embracing it.”

When it comes to teaching, Manya’s approach is intuitive and creative. “I choose songs that make me move instantly and fuel my creativity,” she shares. “As I teach all age groups, I see what vibe goes best with the youngsters versus the adults and accordingly plan the class.” This adaptability ensures that each session is tailored to keep students engaged and motivated.

While Bollywood dance is gaining traction, Manya’s personal passion lies with hip-hop. As a hip-hop instructor, she understands its immense demand. “I personally love hip-hop dance the most; it is what I relate with and love in terms of freedom in movement,” she explains. “I love the body language you get to embody when practicing the style. I feel like it’s in demand because of the culture and popularity of hip-hop in mainstream pop culture.” 

“It is the only dance form that is so free and has so little judgment for the kind of people who can do it. It’s welcoming in its approach, and hip hop music transcends me,” said Manya.

This inherent freedom and welcoming nature of hip hop perfectly complements the vibrant spirit of Bollywood. Manya expertly navigates the intersection of these two powerful genres through what is often termed “desi hip-hop.” 

This regional style, she explains, has its roots in both Bollywood and hip-hop. “In my understanding, I use Bollywood music and teach a fusion of hip-hop and Bollywood to it,” Manya clarifies. “In a lot of Bollywood movies, you will see this style being brought out because it is a perfect blend of western techniques as well as the Bollywood emotions.”

Manya’s playlist for her classes at The Ghungroo School often reflects this global fusion. “I love using songs with artists that collaborate with one another from different countries, such as Ed Sheeran with Arijit Singh,” she notes. “But nonetheless, I pick music based on what I see inspires me and is trending the most, as it excites the younger crowd.”

When it comes to her teenage students in Los Angeles, Manya finds their ability to learn astonishingly quick. “Teenagers are great at picking up the steps quickly,” she observes. “They tend to be slightly shyer than other age groups but do best with how fast they can pick up.” This rapid assimilation of choreography, combined with their burgeoning confidence, makes for dynamic and engaging classes.

With her extensive training, her passion for bridging diverse dance styles, and her innate ability to inspire young dancers, Manya Aggarwal is not just teaching Bollywood hip-hop moves; she is cultivating a new generation of artists who embody cultural appreciation, creative expression, and the sheer joy of movement. As The Ghungroo School continues to broaden its horizons, Manya’s vibrant instruction is sure to leave a mark on the Los Angeles dance scene.

The most rewarding aspect of Manya’s job at The Ghungroo School is the opportunity to connect with young minds through the art of dance. “I absolutely love being surrounded by children, and getting to teach them feels like a privilege because of their presence itself,” she beams. “I love seeing them pursue what they love and see them working hard to improve each class.”

Photos of Manya Aggarwal by Vince Trupsin.

Scream Queen Kris Prihodova On Her Roles In Horror Films With Three October Film Premieres

Abbie Wilson
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Scream Queen Kris Prihodova On Her Roles In Horror Films With Three October Film Premieres

In a month typically reserved for ghosts and ghouls, New York horror star Kris Prihodova has carved out her own reign of terror, dominating the scare season with an impressive trio of film premieres in October 2025. The Czech-born actress has quickly become a formidable presence in the genre, and her recent festival sweep shows she may be one of modern horror’s most exciting new indie scream queens.

The chilling marathon kicked off on October 13th with the premiere of “Anya,” a psychological thriller that screened at the prestigious NY Shorts International Film Festival. Just two days later, on October 15th, her film “Vlogcam” captivated audiences at the Downtown Film Festival in Manhattan. The grand finale came on Halloween night itself, October 31st, as “Nightmare Knocking” made its debut at the AMT Film Festival, ensuring Prihodova’s presence was felt throughout the entirety of the spooky season.

For Prihodova, October is more than just a month on the calendar; it’s an event. “October is the best month to release horror films because people cannot wait to be scared,” she explains. “There is something about that time of the year, when days are shorter, air is colder and everyone wants to cuddle up in a blanket and watch a movie.”

Behind the scenes of the film “HER,” photo of Kris Prohodova by Casey Chen

She believes the audience’s mindset is key to a horror film’s success during this period. “From my experience, audiences are much more emotionally open to fear in October. They want to feel that adrenaline, to jump in their seats, to scream and then laugh right after. It becomes a shared, exciting experience rather than just watching a film.”

This thrilling October was the culmination of a whirlwind two years for the actress. A graduate of the New York Film Academy with a surprising background in chemistry from Masarykova Univerzita, Prihodova has built a formidable resume in a short time. Her recent credits include the zombie horror “The Outbreak” (2024), the slasher “Hoodie” (2024), which was later renamed to the premiere title “Nightmare Knocking,” and the found-footage horror “Vlogcam” (2025). Her first feature, “The Devil” (2023), filmed in a remote cabin in her native Czechia, is still navigating the lengthy post-production process.

“Finishing movies can take really long sometimes and we actors are of course impatient to see the final result,” Prihodova admits, adding with a laugh, “‘The Outbreak’ was a zombie horror and I actually survived that one, which I’m very happy about. I got killed by the rest of them.”

Onto her next project, Prihodova recently wrapped filming on a new slasher, “Krazy Klowny,” (its TBA title), which utilized the historic and atmospheric Amsterdam Castle in Amsterdam, NY, as its backdrop. She describes a chilling plot centered on a children’s party clown whose deep loneliness and frustration, fueled by relentless bullying, boil over into a brutal, axe-wielding rampage against his former clients.

Filming in the castle provided an unforgettable layer of authenticity. “The space itself already has this mysterious energy which added something extra to the filming,” she recalls. “The sequence takes place during a large mansion party; we had around twenty background actors, and even a huge cake that became a centerpiece of the scene. The setting itself added so much character to the story.”

Beyond the jump scares and bloody rampages, Prihodova is drawn to horror that delves into the human psyche. Her film “Anya,” which portrays a woman struggling with schizophrenia, is a project she feels is particularly important. She is a passionate advocate for bringing mental health conversations into the spotlight.

Kris Prihodova talks at the Czechoslovak Society of Arts and Sciences for a presentation

 

“Mental health is a topic which should be always around,” she states. “The conversation comes in waves and people often forget to be more empathetic.. The reality is, you never know who is going through a tough time around you and kindness is something that costs you nothing but can make people’s lives much easier.” 

Prihodova revealed her own connection to the subject, explaining: “I wrote a script about a girl who struggles with OCD, because I myself do have this disorder and wanted to write something that explores more authentic angles about this topic.”

When asked if she considers herself a “scream queen,” which is the slang term for a horror film actress (who often dies in the movies), her answer is immediate and confident: “True. I definitely consider myself a bit of a scream queen at this point.”

For her, the title is a badge of honor, as horror is a mainstay in the film market. “Horror has become one of my favorite genres to work in, mostly because it allows you to explore so many different sides of yourself as an actor,” she says. 

“You can go from being vulnerable and terrified to powerful and unhinged, all within a single film,” said Prihodova. “If you do not get killed in the beginning, that is.” 

She also geeks out over the technical craft, praising the special effects that make the terror tangible. “Whether it’s fake blood, prosthetics, or a complex stunt sequence, those elements make filming such a fun and unpredictable experience.”

Prihodova finds a unique sense of empowerment in these often-intense roles. She sees the genre as a space where female characters can transcend traditional limitations.

“Acting in horror films is actually very empowering as a woman,” she said. “In horror, female characters are rarely static; they fight, they survive, they face their deepest fears, and often they’re the ones who carry the emotional core of the story. That journey, from vulnerability to strength, can be incredibly powerful to play.”

With an award-winning turn in “Anya,” multiple projects in post-production including “Drug Of Choice,” and a thriller she directed herself titled “Her” on the horizon, Prihodova’s triple-premiere October shows the piqued interest in the horror genre, which will continue throughout the year.

The best part of starring in horror films? Rather than staying poised and controlled, as she did walking down the runway as a model for Vera Wang during fashion weeks years ago, Prihodova loves the unhinged quality of playing in horror films.  “For me, horror allows women to break free from being ‘perfect’ or ‘controlled,’ I can be messy, terrified, furious, or completely unhinged,” she said. “There’s a lot of freedom in that.”

5 Directors Who Revolutionized Cinema Viewing Forever

Abbie Wilson
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5 Directors Who Revolutionized Cinema Viewing Forever

Movies have this incredible way of speaking to us, don’t they? They cross language barriers and cultural divides like nothing else can. But behind cinema’s biggest leaps forward, you’ll find directors who weren’t afraid to break the rules and try something completely new.

Let’s look at five filmmakers who didn’t just make great movies – they changed how we watch them entirely.

  1. George Lucas: The Guy Who Made Space Feel Real

Before Star Wars, space movies looked pretty cheesy. George Lucas changed all that. This wasn’t just about better special effects (though Industrial Light & Magic certainly delivered on that front). Lucas made us believe in lightsabers and the Force because he understood something crucial: technology means nothing without a great story.

Think about it – when you watch the Millennium Falcon jump to hyperspace, you’re not thinking about the technical wizardry behind it. You’re just along for the ride. That’s Lucas’s real genius. He opened the door for filmmakers to dream bigger, and suddenly movies could take us anywhere.

Today, when you’re watching these classics on something like the Samsung TV, you can see every detail Lucas and his team crafted. The clarity makes you appreciate just how far ahead of his time he really was.

  1. James Cameron: The Man Who Won’t Take No for an Answer

Cameron’s obsessive. Ask anyone who’s worked with him. But that obsession gave us Terminator, Aliens, Titanic, and Avatar. When Avatar hit theaters in 2009, it wasn’t just a movie – it was an event. Suddenly, everyone was talking about 3D again, and theaters were scrambling to upgrade their equipment.

Cameron doesn’t just use new technology, he invents it. Underwater cameras for The Abyss, motion capture systems for Avatar – the guy literally went to the bottom of the ocean. That’s not normal director behavior, but it’s why his movies feel so real. When you’re watching Avatar, you’re not just seeing Pandora – you’re visiting it.

  1. Alfred Hitchcock: The Master of Making You Squirm

Hitchcock knew something most directors don’t: the best scares happen in your head. Take Psycho’s shower scene – you think you see everything, but Hitchcock barely shows anything at all. It’s all quick cuts, shadows, and that screaming violin music. Your imagination does the rest.

What made Hitchcock special wasn’t just the suspense (though he was ridiculously good at that). He understood audiences. He knew exactly when to give you information and when to hold it back. Watching a Hitchcock film is like being in a conversation with someone who’s always one step ahead of you.

  1. Stanley Kubrick: The Perfectionist Who Changed Everything

Kubrick was famous for doing dozens of takes. Actors either loved him or wanted to strangle him (sometimes both). But look at 2001: A Space Odyssey – made in 1968, and it still looks better than most sci-fi movies today. That’s not luck. That’s obsessive attention to detail.

Kubrick didn’t just make movies; he made statements. The Shining isn’t just scary – it’s a study in isolation and madness. Full Metal Jacket isn’t just a war movie – it’s about how institutions break people down and rebuild them. Every shot means something – every color choice, every piece of music, every camera angle. It’s exhausting to think about, but the results speak for themselves.

  1. Steven Spielberg: The Storyteller Who Gets It

Spielberg has this gift – he can make a movie about a killer shark (Jaws) or the Holocaust (Schindler’s List) and somehow find the human story at the center. That’s not easy. Most directors are good at one thing. Spielberg seems to be good at everything.

What I love about Spielberg is that he never talks down to his audience. Kids can watch E.T. and get swept up in the adventure. Adults can watch it and see a story about divorce and childhood loneliness. Same movie, different layers. That’s masterful filmmaking.

He also understands that movies are collaborative. The shark in Jaws wouldn’t be scary without John Williams’ music. Indiana Jones wouldn’t be Indiana Jones without Harrison Ford’s performance. Spielberg knows when to step back and let his collaborators shine.

Why These Five Matter

These directors didn’t just make good movies – they expanded what movies could be. Cinema keeps evolving with new technologies, new storytelling methods, and new ways to reach audiences. But the foundation these five built is not going anywhere. They set the bar, and every filmmaker since has been trying to clear it.

As movie lovers, we’re lucky to live in their aftermath. The tools they developed, the techniques they pioneered, the boundaries they pushed – all of that lives on in every film we watch today.

Can 4K Streaming Quality Be Achieved Without Breaking a Startup’s Bandwidth Budget?

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Can 4K Streaming Quality Be Achieved Without Breaking a Startup’s Bandwidth Budget?

Startups often face a tough balance between delivering high-quality 4K streaming and keeping bandwidth costs under control. Many assume that ultra-high-definition streaming demands enterprise-level budgets, but that’s not always true. With the right planning, infrastructure, and optimization, startups can achieve smooth 4K streaming without overspending on bandwidth.

The key lies in understanding how bandwidth works and how to make every megabit count. Factors like codec efficiency, adaptive bitrate streaming, and network setup can significantly reduce data use without cutting quality. By focusing on cost-efficient planning, startups can maintain professional-grade video performance even with limited resources.

This article explores practical ways to optimize bandwidth for 4K streaming, from choosing the right compression methods to managing multiple streams effectively. It shows how small teams can compete with larger players by using smarter, not necessarily faster, network strategies.

Understanding 4K Streaming Bandwidth and Cost-Efficient Planning

Achieving smooth 4K streaming depends on stable bandwidth, proper compression, and smart network management. Cost efficiency comes from balancing resolution, bitrate, and the number of active streams without reducing viewing quality.

Defining 4K Streaming and Bandwidth Requirements

4K, also called Ultra HD (UHD), delivers a resolution of 3840×2160 pixels—four times more detail than Full HD (1080p). This higher resolution increases data transfer needs, making bandwidth a key factor in maintaining steady playback.

Bandwidth measures how much data travels through a network per second, usually in Mbps (megabits per second). A higher bitrate produces clearer images but consumes more data.

The codec used also affects efficiency. H.265 (HEVC) compresses video better than H.264, using less bandwidth for the same visual quality. For example:

Resolution Codec Typical Bitrate Estimated Bandwidth
720p (HD) H.264 3–5 Mbps Moderate
1080p (Full HD) H.264 5–8 Mbps High
4K (UHD) H.265 15–25 Mbps Very High

Network congestion, multiple devices, and poor Quality of Service (QoS) can reduce throughput, causing buffering and lag even with high nominal speeds.

Minimum Internet Speed and Bandwidth for 4K Streaming

Most streaming platforms recommend at least 25 Mbps per stream for 4K playback. This allows for consistent download speed to handle large frame sizes and higher frame rates.

However, startups managing multiple streams or remote teams should plan for 50 Mbps or more to maintain reliability during peak usage. Upload speed matters less for viewing but is critical for live broadcasting or content uploads.

Smooth 4K streaming bandwidth depends not only on raw speed but also on stability. Temporary drops in throughput or packet loss can disrupt playback. Using wired Ethernet connections and modern routers that support Wi-Fi 6 helps maintain consistent performance.

Testing with tools like Fast.com or Google’s speed test gives a realistic view of actual speeds under real network conditions.

Balancing 4K Quality With Bandwidth Budget Constraints

Startups can control costs by optimizing bitrate and compression settings without sacrificing noticeable streaming quality. Using HEVC (H.265) or similar modern codecs reduces bandwidth usage by up to 40% compared to older formats.

Adjusting QoS settings ensures that streaming traffic gets priority over background tasks. Limiting simultaneous 4K streams or switching some displays to 1080p can also lower total bandwidth demand.

Monitoring data usage helps avoid overage fees or throttling from internet service providers. A single hour of 4K content may use 7–10 GB, so planning for monthly usage is essential.

Efficient bandwidth management allows startups to deliver HDR and Ultra HD video while keeping network expenses predictable and sustainable.

Practical Strategies to Optimize 4K Streaming on a Startup Budget

Reliable 4K streaming depends on efficient bandwidth use, stable connections, and compatible hardware. Careful selection of internet plans, routers, and streaming settings can help startups maintain high-quality video without overspending.

Choosing the Right Internet Plan and Router

A stable connection matters more than raw speed. Most platforms like Netflix or YouTube Live need at least 25 Mbps per 4K stream, but shared office use may require 50–100 Mbps. Startups should run a speed test during peak hours to measure real performance before upgrading plans.

Fiber internet offers the best stability, but cable or DSL can work if speeds remain consistent. Avoid data caps, which can quickly increase costs when streaming or broadcasting regularly.

A dual-band router that supports Wi‑Fi 5 (802.11ac) or Wi‑Fi 6 helps manage multiple devices efficiently. Routers with Quality of Service (QoS) settings can prioritize streaming traffic, reducing lag and buffering. Placing the router centrally and minimizing interference from walls or other networks improves signal strength.

Router Feature Benefit
Dual-band (2.4GHz + 5GHz) Reduces interference and congestion
Wi‑Fi 6 support Faster data handling and better range
QoS settings Prioritizes streaming data
Wired Ethernet ports Provides stable connections for key devices

Device Compatibility and Network Setup

Devices used for streaming must handle 4K efficiently. Outdated hardware can bottleneck performance even on fast networks. Systems should have enough RAM and modern processors to run encoding tools like OBS smoothly.

Connecting main streaming devices through Ethernet instead of Wi‑Fi reduces latency. If Wi‑Fi is necessary, use the 5GHz band for lower interference. Testing each setup before going live prevents issues during broadcasts on Twitch, Facebook Live, or other platforms.

Smart TVs, streaming boxes, and laptops should support the latest HDR and codec standards. Regular firmware updates help maintain compatibility with evolving streaming services and compression formats.

Efficient Streaming Service and Compression Choices

Choosing the right streaming service and compression settings can save bandwidth without sacrificing quality. Platforms like Netflix and YouTube Live use adaptive bitrate streaming, which adjusts quality automatically based on available speed.

For startups producing their own content, optimizing encoder settings in OBS helps balance clarity and data use. Using efficient codecs such as H.265 (HEVC) can cut bandwidth needs by up to 40% compared to older formats.

Reducing frame rates from 60fps to 30fps also lowers bandwidth while keeping image quality acceptable for most viewers. Testing different resolutions and bitrates ensures stable playback within budget limits.

Conclusion

Achieving 4K streaming quality on a limited budget is possible when startups plan carefully and use efficient tools. They can balance cost and performance by focusing on bandwidth management and adopting modern compression technologies.

Using HEVC (H.265) or AV1 codecs can reduce data usage by up to 50% compared to older formats. This allows smooth playback without requiring expensive internet upgrades.

A reliable CDN and adaptive bitrate streaming (ABR) further help maintain quality across different connection speeds. These systems adjust video resolution automatically, preventing buffering while keeping data use low.

Startups should also monitor network use and prioritize streaming traffic. A simple bandwidth plan might look like this:

Number of 4K Streams Recommended Bandwidth Connection Type
1 25 Mbps Wired or Wi-Fi 6
2–3 50–75 Mbps Wired Preferred
4+ 100 Mbps or more Fiber or Dedicated Line

By combining smart compression, stable infrastructure, and traffic control, startups can deliver 4K content efficiently. This approach keeps costs manageable while still meeting viewers’ expectations for sharp, high-quality video.

This Is Lorelei Releases New Song ‘Holo Boy’

Konstantinos Pappis
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This Is Lorelei Releases New Song ‘Holo Boy’

This Is Lorelei – the project of Water From Your Eyes’ Nate Amos – has shared ‘Holo Boy’, the title track from his upcoming LP. The album, out December 12, finds him re-recording 10 songs from his back catalog. Its title references a holodeck, a device used to project realistic simulations in Star Trek. Check out ‘Holo Boy’ below.

“‘Holo Boy’ was originally written in Chicago sometime in 2014 or 2015,” Amos explained in a statement. “I’m pretty sure it’s the oldest song on the album and I’m pretty sure it’s one of my favorites.”

Read our Artist Spotlight interview with This Is Lorelei.

Charli XCX Enlists John Cale for New Song ‘House’

Konstantinos Pappis
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Charli XCX Enlists John Cale for New Song ‘House’

Charli XCX has teamed up with Velvet Underground co-founder John Cale for ‘House’, which was written for Emerald Fennell’s Wuthering Heights. One of several songs she contributed to the soundtrack, the eerie, claustrophobic song comes paired with a music video directed by Mitch Ryan. Check it out below.

Last week, Charli wrote a note on X about how the collaboration came to be. She said:

I got a call from Emerald Fennell last Christmas asking whether I would consider working on a song for her adaptation of Wuthering Heights. I read the script and immediately felt inspired so Finn Keane and I began working on not just one but many songs that we felt connected to the world she was creating. After being so in the depths of my previous album I was excited to escape into something entirely new, entirely opposite. When I think of Wuthering Heights I think of many things. I think of passion and pain. I think of England. I think of the Moors, I think of the mud and the cold. I think of determination and grit.

A few years ago I watched Todd Haynes’ documentary about The Velvet Underground. As many of you know I’m a huge fan of the band and was really taken by the documentary. One thing that stuck with me was how John Cale described a key sonic requirement of The Velvet Underground. That any song had to be both “elegant and brutal”. I got really stuck on that phrase. I wrote it down in my notes app and would pull it up from time to time and think about what he meant.

When working on music for this film, “elegant and brutal” was a phrase I kept coming back to. One day whilst on tour in Austin, Finn and I went to the studio and wrote the bones for a song that would eventually become “House.” When the summer ended I was still ruminating on John’s words. So I decided to reach out to him to get his opinion on the songs that his phrase had so deeply inspired, but also to see whether he might want to collaborate on any.

We got connected, we spoke on the phone and wow… that voice, so elegant, so brutal. I sent him some songs and we started talking specifically about “House.” We spoke about the idea of a poem. He recorded something and sent it to me. Something that only John could do. And it was… well, it made me cry.

I feel so lucky to have been able to work with John on this song. I’ve been so excited to share it with you all, sitting quietly in anticipation. And on Monday, it’s yours.

Wuthering Heights arrives in theaters on Saturday, February 14, 2026. Fennell’s adaptation of the Emily Brontë novel stars Margot Robbie as Catherine Earnshaw and Jacob Elordi as Heathcliff.

Album Review: Rosalía, ‘LUX’

Konstantinos Pappis
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Album Review: Rosalía, ‘LUX’

Rosalía‘s fourth studio album is a towering epic, a four-movement work that draws inspiration from female saints and poets with “the intention of verticality.” But the most disarming, by pop standards, aspect of LUX isn’t the Spanish superstar’s spiritual and musical ambitions, or the way she folds them into a compelling structure, but its heart-rending sentimentality, apparent in both the dramatic ways she wields these stories and every small waver of her voice. That’s the quality of its operatic scope that cuts through on each listen, taking stock of her lived experience as much as it seeks to undress it and ascend to a new world. Recorded in 13 languages with the assistance of the London Symphony Orchestra, it’s a sensational record that undoubtedly reaches for the universal. But it’s also a singular document of an artist at the top of her game, shamelessly looking to the past while confronting the oblivion of the future. Gaze still upward, this is her soul overflowing like it’s all unfolding right before her eyes.

1. Sexo, Violencia, y Llantas

LUX’s opener positions the album in the space between earthly love and divine connection. Rather than flitting between the two, the singer carves a linear progression: “First I’ll love the world then I’ll love God.” Beautiful as her lone voice is, the first spine-chilling moment comes when it is supernaturally, if briefly, amplified, as if going through a portal.

2. Reliquia

Lest LUX’s overture appear too high-minded, Rosalía presents a startlingly personal map of memory that becomes an immediate highlight. You may not have found yourself in all the places she mentions – she is a pop star, after all – but it’s likely a few bits and pieces resonate. Over the understated flamenco beat that sounds like an acknowledgement of her past, I was reminded of listening to Los Ángeles upon its release when I was in the UK, where she says she lost her smile. When those glitchy electronics come in – in case you were wondering what Daft Punk’s Guy-Manuel de Homem-Christo is doing in the credits – I remembered MOTOMAMI breaking out while I was in Jerez, where she lost her hands. She’s allowed her heart to be touched by them all, but never felt ownership over it, a question lingering over her lament: How much can the world be worth, then?

3. Divinize

“This ghost’s still alive/ I’m still alive,” Rosalía sings, the album’s first English lines signalling profound vulnerability. And hanging by a thread, the song’s arrangement, swirling and muffled, seems to add. When she gets to the pre-chorus, singing “Each vertebra reveals a mystery/ Pray on my spine, it’s a rosary,” she channels LUX guest star Björk, both vocally and in her organic imagery. Through “divine emptiness” her performance remains totally embodied.

4. Porcelana

LUX may not open with a ‘SAOKO’, but for those who care, there’s still ‘Porcelana’ to scan as the record’s pop-adjacent “banger.” Rosalía uses AutoTune as a means of transformation, paying tribute to the Japanese monk, teacher, and poet Ryōnen Gensō, whose beauty distracted other students to the point that she burned her face. Rosalía focuses less on the story than its complex elements – grief, fragility, mutability, anger – while capturing every linguistic nuance of the word diva.

5. Mio Cristo Piange Diamanti

“That’s gonna be the energy,” Rosalía mutters at the end of the song, rapturing its grandiose orchestral finale. Even when she conducts a more traditionally structured aria – singing in Italian with no AutoTune or off-kilter experimentation – the energy is all that matters to her, and it is deeply human even as her acrobatics make her sound like no other human on Earth. When her voice pierces the gut in its smallness, you have to control yourself in anticipating the eruption. Yet she’s in full command of it and the music around her; when she wonders, “How many hugs have you given that could have been blows?” the orchestra seems to stab right back.

6. Berghain

‘Berghain’ is no less baffling in the context of the album than it was as an early single. It’s less Rosalía’s operatic vocals – you’re used to them by now – that strike like thunder, but her guests: Björk’s elegiac intervention and Yves Tumor’s fiery reprise of Mike Tyson’s tirade: “I’ll fuck you ‘til you love me.” It feels like an important piece of the puzzle that doesn’t totally fit, which is enough to announce we’ve moved on to the second movement of the album.

7. La Perla

LUX may be an album inspired by the stories of female saints, but for a brief waltz, Rosalía abandons its dramatic pretenses to throw a bit of shade (presumably at her ex-fiancé Rauw Alejandro). It’s playful and gossipy, even if there’s weight to accusations of emotional terrorism and unfaithfulness. Rosalía knows this language well, and she’d rather speak it now than forever hold her peace.

8. Mundo Nuevo

Rosalía quickly swerves from the jauntiness of ‘La Perla’ for what might be another side of heartbreak; surrender. She sings of going back into the womb to “see if in a new world I’d find more truth.” As if her attempt to love the world has failed, her instinct is to recoil rather than ascend. Her voice still exalts, but the silence between the lines is painstaking.

9. De Madrugá

Pharrell’s assistance adds another layer of immediacy to a track that already feels right in Rosalía’s comfort zone, taunting and surging in less than two minutes. And just like that, the second movement is over.

10. Dios Es Un Stalker

Rosalía complicates the concept of divinity through cheeky first-person narration; a devilishly funny take on ‘God Is a Woman’. She frames herself as “the labyrinth you can’t escape,” yet every left turn is invigorating.

11. La Yugular

The album’s epic scope reveals itself on ‘La Yugular’, where she reaches back out and immerses herself in the world: “I fit in the world/ And the world fits in me/ I occupy the world/ And the world occupies me.” Skip around the song and you’ll notice it sounds heavenly in all sorts of configurations: guitar and voice; a breathtaking chorus backed by strings; an elegiac choir. She drives the point – infinity as transcendence, the plurality and oneness of voices – home by sampling a 1976 interview with Patti Smith. Simply being part of the world can mean liberating it, breaking on through.

12. Sauvignon Blanc

‘Sauvignon Blanc’ is one of the most straightforward love songs in Rosalía’s catalog; as she dreams of renouncing luxury in favor of partnership, it feels like the purity she seeks throughout the album has come to bear. It’s a song she cannot stretch very far, perhaps because her fame does not permit her to. Yet she gives it one of the album’s most memorable endings: just as she’s done climbing up and down her vocal register, those familiar handclaps bow the song out, almost like a call to arms.

13. La Rumba del Perdón

Or an old song fading back into view: if ‘La Rumba del Perdón’ also stirs flashbacks to El mal querer, it might be because Rosalía and El Guincho have had it in the bag for over five years. Joined by flamenco stars Estrella Morente and Silvia Pérez Cruz, she opens the fourth movement with a story about forgiveness that you actually have to read into; it’s the one song on LUX where the text carries as much, if not more, weight than the music around it.

14. Memória

It’s notable that Rosalía isn’t singing alone on two of the album’s concluding, and arguably most emotional, songs. If ‘La Rumba del Perdón’ is about the meaning of forgiveness, the rueful ‘Memória’ is about the feeling of remembering. Portuguese fado singer Carminho makes it sound like Rosalía isn’t addressing someone in her life but rather another, perhaps future version of herself.

15. Magnolias

One of the things Rosalía wonders about is if she’ll be grateful; she’s quick to answer her own question in ‘Magnolias’. “Life flashed me its knife, took everything I had, and I thanked her for that,” she sings. Her voice, in its constant flux, pierces and stabs like that, too, but the overall feeling is one of delicate serenity. As in the opener, she frames herself between the ground and the beyond, promising to meet God in the middle. On one hand, LUX demonstrates Rosalía’s cultural omnipresence and appetite, peering through the centuries to elevate examples of female divinity; on the other, it is a strikingly disarming and humanizing portrait of her own celebrity that goes as far as to imagine her funeral. It’s a lot to balance, and Rosalía unflinchingly holds her own.

Listening to the Unseen: Haoxuan Renders Frontier Science as Sensory Experience

Abbie Wilson
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Listening to the Unseen: Haoxuan Renders Frontier Science as Sensory Experience

What might a protein sound like as it folds? How could a constellation of microtonal harmonics reconfigure our sense of space, attention, and temporal flow? For artist and researcher Haoxuan Zhang, sound is never merely a signal awaiting reception. It is an energetic agent – one capable of restructuring living systems and the material substrates that surround them.

Digital visualization from The Blue Jet I, the artist’s ongoing body of research translating microscale vibrational phenomena into perceptible form.

Operating across sonic art, visual installation, computational modelling, and interactive environments, Haoxuan constructs multisensory experiences in which audiences encounter phenomena typically foreclosed from perception: acoustic interference patterns, material resonances made visible, infinitesimal modulations in amplitude and frequency, the liminal threshold where sensation dissolves into structure. Recent projects synthesise research undertaken between Imperial College London and the Royal College of Art, investigating whether particular frequency bands and material interfaces might influence biological processes-protein assembly, particle suspension dynamics at the molecular scale.

In Something Human 1, an audio-visual work premiered within the international digital exhibition thumb2 and physically launched at Ladder Space, Aarhus, Haoxuan weaves sine tones, band-filtered noise, and processed field recordings with visual elements into a gradually unfolding sensory field. The composition develops through calculated tensions: frequencies phase-lock before drifting apart, waveforms obliterate and regenerate one another, fragments of human respiration fuse with algorithmic architectures. Audiences describe the experience as simultaneously intimate and monumental – an encounter with vibration and materiality as sculptural media, and with attention itself as perceptual apparatus.

Haoxuan’s performances and installations have addressed audiences throughout the UK and internationally. At the Royal Albert Hall’s Open Stages programme, a site-responsive sound -visual installation and live performance transformed the Elgar Room into an active resonant chamber, bridging traditional piano and acoustic instruments with frontier sound technologies to reveal the architecture’s hidden sonic properties.

Within a clinical setting, Haoxuan contributed sound and material interface work to Design Innovation in Healthcare at Chelsea and Westminster Hospital NHS Foundation Trust, examining how multisensory design might enhance perceptual acuity and care protocols within public health infrastructures.

This research-led practice inhabits the intersection of artistic and scientific inquiry, yet studiously avoids reductive illustration but to manifest the fundamental relationships between sound, matter, and life. Rather than transcoding data into audible or visible equivalents, the works establish perceptual conditions through which audiences might apprehend how the universe organizes itself at multiple scales: the characteristic beating produced by minimally detuned sine waves mirrors protein oscillations; acoustic interference patterns echo quantum behaviors; material transformations rendered perceptible through carefully designed interfaces reveal the malleability of matter under vibrational influence. The implicit proposition is that perception is not passive reception but an active, continuously reorganised process – one fundamentally shaped by multisensory encounter and capable of accessing truths that remain perpetually unseen through conventional means.

The image captures sound rendered visible – acoustic energy structuring matter at the moment of resonance.
© Haoxuan Zhang

Haoxuan represents a new generation enacting a paradigm shift in how art and science co-pilot human creation. Moving beyond the traditional divisions that have long separated artistic intuition from scientific rigor, this practice demonstrates that the two are not merely complementary but fundamentally unified, both modes of attending to and participating in the universe’s ongoing formation. The work refuses hierarchy between sensory knowledge and empirical data, between felt experience and measured phenomenon, proposing instead that genuine understanding emerges precisely where these seemingly disparate ways of knowing converge.

Haoxuan’s broader concerns encompass ecology and collective experience, realised through collaborations addressing climate consciousness, epistemic distortion, and communal modes of sensing. Exhibited at venues including the Grantham Institute Climate Research Showcase, Exhibition Road Festival, and London Design Festival, the practice maintains methodological consistency: establish lucid sensory parameters that bridge seemingly disparate domains, honour systemic complexity at every scale, and permit multiple modes of perception to uncover relationships that single-sense comprehension might miss.

In the year ahead, Haoxuan is developing a tripartite series engaging three scalar domains: the acoustic, the microscopic, and the subatomic. Each project will manifest as paired installation and performance, employing bespoke software alongside minimal transducer configurations and visual systems to generate granular, spatially distributed sensory experiences. The ambition is not sensory bombardment but refined sensitivity, an invitation to dwell within vibration, materiality, and visual resonance, and register their transformative effects.

When asked what audiences might derive from this work, Haoxuan gestures toward attention itself. “Perception operates as both action and instrument, it’s a transformation in how we understand existence itself. If we cultivate responsiveness to minute variation across sensory modalities, we may simultaneously cultivate responsiveness to one another and to the precarious patterns sustaining our shared world.”

Artist: Haoxuan Zhang
Selected presentations/exhibitions: Royal Albert Hall Open Stages; thumb2, Ladder Space, Denmark; Design Innovation in Healthcare, Chelsea and Westminster Hospital NHS Foundation Trust; London Design Festival (with PriestmanGoode); Grantham Institute Climate Research Showcase; Exhibition Road Festival; Somers Gallery
Affiliation: Royal College of Art–Imperial College London; Research Member, Edinburgh Futures Institute

Support:
Supported by The Blue Jet Foundation
Portfolio: www.thebluejet.com
Instagram: @haoxuan_3am

How to Create Valet Uniforms That Reflect Your Brand and Prioritise Comfort

Our Culture Mag & Partners
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How to Create Valet Uniforms That Reflect Your Brand and Prioritise Comfort

When guests arrive at your venue, the first person they are likely to meet is the valet. And that first impression is an important one – it’s what sets the tone for the rest of the experience they’re about to have with you. So, making sure your valet team looks the part is crucial – not just to show they’re professionals but also because it gives your brand its first big make-or-break moment.

One of the simplest ways to achieve that is to give your team a uniform that really stands out. Not just for making them look good, but also because it helps them feel good too. But how do you strike the perfect balance between looking sharp and feeling comfortable?

Building a great uniform is a lot easier said than done. You’ve got a bunch of factors to think about to make sure your team’s look represents your brand and keeps your team happy. To help you get it right, here are the main things to consider. 

Make Sure the Uniform Reflects Your Brand’s Personality

You should choose a valet uniform that’s an extension of your brand – not just something that your employees put on because it’s required. The colours, materials and overall style should match the vibe you want to create from the very first second your guests arrive. That said, if you’re a high-end hotel or restaurant, you’re going to want to go for something smart and elegant, like tailored blazers and crisp shirts. On the other hand, if you’re a more laid-back venue, smart polos and lightweight jackets might be more up your street.

The colours you choose are also going to make a big difference, not just because they match your logo or interior design (although that helps). Neutral colours like black, navy and charcoal are safe bets because they look smart and professional. But if you want to add some personality to your team’s look, brighter colours can be a good way to go as long as they’re true to your brand.

Comfort and Functionality

Valet work is physically demanding. Your team is on their feet for hours, moving quickly, getting in and out of cars, carrying items and being active all day. That’s why comfort and functionality should be the top priorities when designing uniforms.

A comfortable valet uniform starts with breathable, lightweight fabrics that allow for full movement and temperature regulation in hot and cold conditions. Stretchy materials like cotton blends or performance fabrics with a bit of elastane make bending, reaching and walking much easier without compromising on style.

Functional details make a big difference. Think pockets for essentials, durable buttons or zippers and layers that can adapt to the weather. By combining comfort and practicality with style, you ensure your team can focus on providing great service without being held back by their uniform.

Durability and Maintenance

Valet uniforms need to withstand daily use. Between constant movement, weather and long hours, a uniform that’s not durable will quickly lose its professional look. Choosing high-quality fabrics that resist wrinkles, fading, and wear is key to ensuring your team always looks polished. Materials like polyester blends, treated cotton or performance fabrics are often great choices as they combine durability with comfort.

Maintenance is just as important. Uniforms that are easy to care for (machine washable, quick-drying and stain-resistant) save time and money for both staff and management. When your team can easily clean and maintain their uniforms, it ensures they always look crisp and professional, reinforces your brand image and avoids the frustration of constantly replacing worn or damaged clothing.

Seasonal Changes

Valets work outdoors in all weather, so their uniforms need to be versatile enough to handle seasonal changes. A smart approach is to design a uniform system with layers that your team can add or remove as the conditions change. 

In warmer months, lightweight, breathable shirts or polos made from moisture-wicking fabrics will keep the team cool and comfortable. When it’s colder, add layers like vests, jackets or softshell outerwear to keep them warm without restricting movement. 

Also maintain style and colour consistency across all seasons so your team looks the same whether they’re wearing short sleeves in summer or a jacket in winter. Water-resistant materials and weather-appropriate accessories (gloves, caps or rain gear)  will make a big difference in comfort and presentation. 

Personalise Your Uniform

Personalisation can do wonders. It’s what gives a standard uniform a bit of personality and shows off your brand’s unique identity. Adding some thoughtful touches, like embroidered logos, name tags or a splash of your company colour on the uniform, makes your valet team instantly recognisable and helps to reinforce your company’s image.

Even tiny details, think branded buttons, some colour on the collar, can make the uniform look far more polished and memorable.

About Creating A Uniform Policy That Really Works

Having a solid uniform policy in place is just as important as getting the design right. A clear policy outlines what your valet team need to wear, how to keep it looking good, and what’s expected of them in terms of presentation. This helps make sure that every team member looks their best, no matter who is working on any given shift and regardless of the time of day.

A good uniform policy actually has plenty of benefits beyond just looking good. It makes things easier for management by setting clear expectations, reducing the confusion of what is and isn’t acceptable and helping keep your brand image looking sharp all the time. You can also include guidelines for seasonal changes, replacing gear and looking after the uniform itself to keep it in good nick for longer.

But while all of that is great for the business side of things, a well-thought-out policy also encourages staff to have pride in their uniform and take care of it. When employees understand how important it is to keep themselves looking great, they’re more likely to present themselves with confidence and uphold the professional image your brand represents. In simple terms, a strong uniform policy makes sure everyone is on the same page – and that helps protect your brand’s reputation and keeps your team looking its best.

Astral Throne II: Full Details on Core Changes and 2026 Demo

Prince Addams
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Astral Throne II: Full Details on Core Changes and 2026 Demo

Astral Throne II: Age of the Phoenix has been recently announced by developer Zero Sun Games. This new title serves as a prequel and a sequel to the original game launched earlier this year.

While it might be too early for a new version, the developers said the changes they were adding were too fundamental. That is why they decided to make another one. In the same way, it could be a good move since the first game got positive community feedback despite dismal commercial performance.

While a new one is coming, the original title is not ending soon. In fact, there will still be another patch for it. The makers also believe it is okay to have both at the same time.

“We don’t intend to replace Astral Throne; we think the games can exist side-by-side,” Zero Sun Games said in the announcement. 

Despite the changes, the studio said that the sequel will still offer a unique strategic experience.

Refined Gameplay Mechanics

According to the official Steam page, Astral Throne II leans more toward the Roguelite genre. Even so, the turn-based mechanics remain. Likewise, players can still build their army and go through a continent-spanning quest. Particularly, this popular SRPG lets players lead a team through tactical battles. It now also has smaller maps and shorter runs. Each run is different, with permadeath mechanics, randomized loot, and more. This change ensures that the process does not feel like a long grind. More importantly, the studio wants to focus more on meta progression.

Transformed Graphics, Better UI, and New Story

Aside from the fresh gameplay, Zero Sun Games said that Astral Throne II will now use a hybrid 2D-3D pixel art style for its visuals. Removing the 3D low-poly look fits with the player’s preference in the genre. At the same time, it enables the developers to add content more easily.

Similarly, they are working on improving the UI to support controllers. In particular, the studio wants the game to get the Steam Deck verification.

On top of that, players can look forward to a new story that is more linear. The creators are very excited, as award-winning fantasy novelist Shami Stovall will write it.

Upcoming Demo and Release Window

Fans can expect the first demo to be available in the first quarter of 2026. However, there is no official launch date for the game yet. Looking at the situation, developers could drop the game by the second half of next year. For now, players can Wishlist the game on Valve’s Steam.

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