It is essential to understand the basics of military diet before diving into maximizing its results. This diet plan consists of a strict three day meal plan and the rest of the four days are based on less restrictive eating. For the first three days, individuals need to stick to a low-calorie meal plan including items like toasts, tuna, grapefruit, and apples. Weight loss by this diet is due to calorie deficit in the body. Understanding the structure of this diet is the key to losing weight. Three days low-calorie diet and remaining four days based on healthy eating. Now let’s look at the ways of maximizing your results on the military diet.
Planning and staying organized
Grocery shopping, Meal preparation and Daily schedule
Planning ahead can save a lot of your time and can maximize military diet results. As we know this diet requires strict adherence to a specific meal plan so you can do it in advance. While going grocery shopping make a detailed list of all the items you need for this diet and stick to it. It will help you in avoiding buying unnecessary food items. Prepare all of your meals in advance so that you don’t deviate from your plan due to time constraints or lack of ingredients. Plan your meals according to your daily schedule. If you have a busy day then try packing your snacks or meals with you so you don’t end up eating something outside of the diet plan.
Increasing water intake
Hydration, timings and avoiding beverages
Make a plan of drinking 8-10 glasses of water throughout the day. Hydration supports metabolism, digestion and overall health that helps in weight loss results. You can also drink a glass of water before every meal which can help you feel fuller and reduce hunger and craving as you are already having small portions of food. Last but not the least stick to water, black coffee and tea without sugar or cream during the diet plan. Any canned or boxed beverage should be avoided as these can interfere with your calorie deficit and reduce the effectiveness ofthe diet.
Physical activity and exercise
Although it is not required in the military diet to exercise, adding light exercises can help in maximizing your results. Exercise can help in building muscle and improve overall body structure. But as the diet is low in calories, individuals following this should avoid strenuous exercise that could leave them feeling fatigued. Here are some exercising tips:
Walking
For improving cardiovascular health and burning calories without exhausting yourself, walk 30 minutes daily
Yoga or light stretching
Doing yoga or light stretching can not only improve flexibility but also reduces stress and promotes overall well beings and complements weight loss efforts
Strength Training
For sustaining metabolism and maintaining muscle mass during the diet, it is important to do light strength training and exercises like squats, lunges and push-ups
Focus on sleep cycle
Prioritize sleep, create a routine and avoid stimulants
While following any diet plan getting sufficient sleep is often overlooked but it plays an important part in maximizing military diet results. Hunger, cravings and reduced will power during following a diet could be because of lack of sleep. Sleep is also essential for the recovery of muscle and overall health. Here are some tips to get proper sleep during dieting:
You should aim for a proper 7-9 hours of sleep each night. Quality sleep controls hunger and regulates hormones controlling metabolism.
Do activities like taking a warm bath, reading a book or practicing meditation for establishing a relaxing bedtime routine.
Limiting caffeine intake before sleeping will help you in getting better sleep and improve your overall diet outcomes.
Following the diet strictly
Eat in small portions, avoiding substitutions and resisting temptations
It is essential to follow the military diet plan as strictly as possible to see the best results. When you deviate from the plan it sabotages the diet and reduces the effectiveness of the diet as well. Adding extra calories interferes with the results and destroys the calorie deficit. Some people suggest that using food substitutions while following military diet has the same effect but it is not true. It is best to stick to the original plan for maximized results as each food item has its specific caloric and nutritional value. Lastly, remind yourself that this diet is only for a week and results are worth the effort for resisting temptations and cravings.
Adopting mindful eating habits
By paying close attention to what and how one eats, they can improve military diet outcomes. You can start by eating slowly and taking time while eating meals to feel more satisfied. Focusing on flavors, textures and smell of the food can make it more enjoyable and content with the smaller portions. Avoid distractions during meals, don’t use smartphones or watch television as paying attention to your meal can help you in recognizing the feeling of fullness.
Optimizing you four Off-days
When you are done with following the first three days of strict diet now the military diet allows for four off-days. To maximize military diet results it is crucial to make smart choices to maintain the progress. Avoid adding high calorie or processed foods in your diet these days. Controlling your meal portion and eating in large portions can negate your progress and leads to overeating. Don’t forget to hydrate yourself and do light exercise to maintain the momentum and burning of calories on your off-days.
Consider non-invasive fat reduction techniques
If the stubborn areas of fat do not seem to respond to the military diet plan and exercise and you are struggling with them then you should opt for non-invasive fat reduction techniques. There are many clinics in Dubai that offer treatments like CoolSculpting and radiofrequency lipolysis which can complement your weight loss efforts. These treatments help you in achieving a more sculpted appearance and specifically focus onbelly fat removal. Combining military diet with non-invasive fat reduction can give you results that are according to your weight loss goal and it is effective in areas that are resistant to diet and exercise alone. Those of you who want to lose weight fast in Dubai, these clinics by using these techniques provide an additional tool in your weight loss arsenal.
Stay motivated and positive
Following a military diet can be exhausting and challenging but a positive mindset can help you go through it successfully. Define your weight loss goals and stay focused and committed to them. Note your meals, exercise timing and how you feel every day. Keeping a journal of your progress will help you stay motivated. Reward yourself with non-food items and stuff like a spa day, a movie night or through a new book to make your journey more enjoyable.
An effective short term weight loss solution is what military diet is for but for maximizing military diet results one should follow it strictly with planning and discipline. By keeping track of meals, staying hydrated and doing light exercise, you can improve your military diet outcomes and have the best results possible. While a military diet can help you lose weight quickly, for long term health goals one need to combine it with a balanced diet and possible non-invasive fat reduction treatments focusing on belly fat removal. By taking a holistic approach to your weight loss journey, long lasting results can be achieved that could not be reached through military diet alone. Stay positive and committed and try making the most effort towards your weight loss goals.
This summer, the Narthex Gallery, located in the north bell tower of the First Presbyterian Church of Chicago, hosted its inaugural exhibition featuring a series installment of paintings, co-signed by Qiuchen Wu and Wilson Yerxa who is labeled as a one of Wu’s Three American Painters. The exhibition, intriguingly unnamed and without explicit labels on the works, challenges viewers to question: What is this about? And perhaps more critically: Who is the artist?
These questions lie at the heart of the exhibition’s exploration of property, ownership, and identity. Rather than providing straightforward answers, the exhibition invites visitors to engage with the slippery nature of these concepts, using the physical and conceptual spaces within the church to provoke thought.
Climbing Up: The Second Floor Photo by Max Li & Tianjiao Wang
Visitors entering the Gothic Revival cathedral, built in 1927, are immediately confronted with a curious juxtaposition: a vintage SONY Trinitron TV playing a scene from the Japanese anime Doraemon, where Nobita builds a miniature city free from adult interference. Across from the TV hangs a painting of three houses, presenting architecture in three distinct forms—the real, the animated, and the painted. Each medium carries its own tone, from the church’s solemnity to the anime’s innocence and the painting’s eerie quality.
This layering of different media and then scales—grand architecture, medium-sized anime, and small painting—immediately raises questions about how we perceive and relate to different forms of reality and representation. The viewer is invited to consider not just the physical differences but also the conceptual implications of these varied presentations.
Climbing Up: The Second Floor Photo by Max Li & Tianjiao Wang
As visitors ascend to the second floor, the atmosphere shifts dramatically. The warm, inviting space below gives way to a more austere environment, where darkness and light are starkly contrasted. Here, a drawing backlit by white LED lights depicts a scene of impending violence: one figure is about to punch another, but the potential victim seems more focused on the aggressor’s wristwatch than on the imminent attack.
This puzzling detail invites multiple interpretations. Is the person being punched so absorbed in observing the “other”—in this case, the wristwatch—that they neglect their own self-preservation? This scene provokes deeper questions about attention, distraction, and the complexities of interpersonal relationships in moments of conflict.
Illumination?: The Third Floor Photo by Max Li & Tianjiao WangObscurity…: Basement Photo by Max Li & Tianjiao Wang
On the third floor, natural light floods the space through beautiful stained glass windows, creating a stark contrast to the artificial light below. A ladder stands in the middle of the room, leading up to the bell tower, and across from the stained glass is a similarly colorful painting. Upon closer inspection, the painting reveals an ambiguous yet provocative image: an animal watching two people engage in a reproductive act.
This unsettling image reappears in the basement, this time drawn simply and lit only by candlelight in an abandoned bathroom. The rawness of this imagery within the sacred space of a church raises challenging questions about the coexistence of the spiritual and the primal, confronting visitors with the limits of the idea of “progress.”
Under the leadership of the young and enthusiastic pastor Rev. David Black, the church has embraced a progressive stance, and this exhibition could be seen as a testament to the limits of that progressiveness. It asks whether we can truly reconcile the base aspects of our humanity with the ideals of spiritual elevation.
Artist Qiuchen Wu and the Performance Photo by Max Li & Tianjiao Wang
On June 2nd, following the Sunday service, a panel discussion was held in the church sanctuary. However, rather than a traditional discussion, the audience witnessed an unexpected performance. Wu guided the panelists—poet Delia Pless, therapist Rob Meeker, and renowned artist Catherine Sullivan—in singing “Foregone Conclusion” by Pedro the Lion, a song significant to Yerxa during his youth. Yerxa himself was absent, but his influence was palpable throughout the event.
When asked for biographical information, Wu provided only a brief and cryptic statement:
“Qiuchen Wu is an artist and writer based in Chicago, IL. He has presented at venues including mn gallery, Logan Center for the Arts, The Lawn, ACRE, The Renaissance Society, and The First Presbyterian Church of Chicago. He holds a Bachelor of Fine Arts with Distinction from the School of the Art Institute of Chicago and a Master of Fine Arts from the University of Chicago. He is currently a Visual, Literary & Performing Arts Fellow at The Arts Club of Chicago.”
Yerxa, when approached, declined to provide biographical details, suggesting instead that he be viewed as material rather than the author of the exhibition—similar to how Socrates is not the author of Plato’s dialogues but rather the material from which they are derived.
Qiuchen Wu’s exhibition does not offer easy answers but instead challenges viewers to confront the complex interplay between identity, ownership, and the self in relation to others. By presenting these themes in the context of a sacred space, the exhibition pushes the boundaries of how we understand these relationships, making it not just an artistic display but a catalyst for deeper reflection.
This summer, Chicago’s vibrant art scene was the setting for Spectral Reflection, an exhibition that showcased the compelling works of Becs Epstein and Yiwei Leo Wang, at a prominent Roots & Culture Contemporary Art Center in Chicago, this exhibition delved into the intricate and often overlooked connections between humanity and the natural world, as well as the intangible aspects of identity shaped by contemporary societal norms.
Thank You Station: Botanical Creatures, 2024 ceramic and laser cut slips Size variable Artist: Becs Epstein Photo Credit: Eugene Tang
Becs Epstein, a key figure in Chicago’s dynamic art community, wove together personal history and environmental consciousness through laser-engraved ceramics, performance art, and installation. Her contributions to the exhibition centered around the nuanced dynamics of human-plant relationships. Epstein’s works acted as both an apology and a tribute to the non-human world, urging viewers to confront the pressing realities of climate change without succumbing to despair.
One of her notable pieces involved the creation of spikes, fronds, blades, and hooks out of ceramic and laser-cut slips, designed for visitor interaction. The public was invited to write messages of gratitude to plants and hang them from these ceramic pieces. Each hook, hand-built with variable shapes and dynamic glazes, became a part of this collaborative artwork, fostering a deeper connection between participants and the natural world. Through these intricate and participatory elements, Epstein’s art served as a dialogue—a heartfelt exchange between humanity and nature—crafted through the meticulous language of ceramics and performance. Each piece invited viewers to reflect on the symbiotic relationship between humans and the environment, challenging them to acknowledge their role in the ongoing ecological crisis.
Flower in the Mirror Moon in the Water镜花水月 #7 Grain in Beard芒种, 2024 Plastic beads, wire, and mirror ball 14 x 10 x 10 in. Flower in the Mirror Moon in the Water镜花水月 #8 Cold Dew寒露, 2024 Plastic beads, wire, and mirror ball 14 x 10 x 10 in.
The highlight of this exhibition comes from one of Chicago’s most sought-after artists, Yiwei Leo Wang, an interdisciplinary artist and curator specializing in sculpture and installation. With an MFA in Sculpture from the School of the Art Institute of Chicago (SAIC) and dual Bachelor’s degrees in Sculpture and Landscape Architecture from Pennsylvania State University, Wang’s work delves into themes of identity, societal expectations, and the human-environment relationship. Wang is also an active curator, with significant contributions to exhibitions at the Chinese American Museum of Chicago and beyond.
Yiwei Wang took center stage in the exhibition with his series “Flower in the Mirror, Moon in the Water 镜花水月”, which explored the transient nature of identity under societal pressures. Inspired by Chinese philosophy, Wang’s works, such as “Grain in Beard 芒种, 2024” and “Cold Dew 寒露, 2024”, combined mirror balls with traditional Chinese floral decorations, creating a visual narrative where vibrant energy and hidden loneliness coexist. The mirrors in these pieces, both revealing and concealing, served as metaphors for the illusory quality of modern experiences—tangible yet elusive, much like the moon’s reflection on water.
Untitled (Everlasting Flower), 2024 Insulation foam, and found glass vases Size variable Artist: Leo Yiwei Wang Photo Credit: Eugene Tang
Wang’s exploration extended further with his series Untitled (Everlasting Flower), 2024. Made from insulation foam and found glass vases, this work captured both the fleeting nature and enduring strength found in the natural world. In a space illuminated by red lights, Wang’s pieces created an immersive experience where artificial yet light-sensitive elements mimicked the changing states of plants in nature. This environment offered viewers a contemplative pause amid the rush of contemporary life, inviting them to reconsider their relationship with the relentless pace of the modern world.
Exhibition Opening Roots & Culture Contemporary Art Center Photo Credit: Yiwei Leo Wang
Spectral Reflection successfully bridged the gap between identity and nature, providing a space for deep contemplation. Through their distinctive yet complementary approaches, Epstein and Wang challenged audiences to engage with the unseen connections that define our existence, leaving a lasting impact on those who experienced the exhibition.
Nicole Miglis, the multi-instrumentalist and singer of the beloved indie pop group Hundred Waters, was introduced to classical piano when she was just six years old. She went on to study piano performance at the University of Florida, where she met her future bandmates in Hundred Waters, with whom she wrote and co-produced three beautifully intricate albums. (In June, the band released Towers, a collection four previously unreleased demos from 2014’s The Moon Rang Like a Bell, and FORM Arcosanti, the Arizona festival they launched to celebrate its release, is returning this October for the first time since 2019; Miglis is set to perform as a solo artist.) Following Hundred Waters’ last album, 2017’s Communicating, Miglis felt the need to explore what her creative and personal life could look like outside the context of the group. Though she released two long-form ambient pieces under the moniker Batry Powr in 2021, Myopia, which is out today on Sargent House, is Miglis’ debut full-length under her own name.
The album’s titular metaphor alludes to its blurring of desire, love, and longing, but the idea behind it – “of not seeing your potential or your power, of not zooming out; limiting beliefs,” in Miglis’ words – might also extend to one’s relationship with creativity. Miglis’ goal was to write, perform, and produce Myopia in its entirety, which she has gorgeously accomplished, interweaving gentle piano melodies and lush orchestration with electronic flourishes and sharp pop songwriting. But, along with her ethereal voice, she also harnesses the same belief in the intimate and transportive power of music that permeated her work with Hundred Waters. Given its introspective nature, Myopia could have gotten lost in its own introversion, falling into the trap of its own thematic ambition. But it’s in this rich, introspective landscape that Miglis finds herself witness to a host of new possibilities, and we’re lucky to be granted a glimpse.
We caught up with Nicole Miglis for the latest edition of our Artist Spotlight series to talk about revisiting The Moon Rang Like a Bell, breaking off from Hundred Waters, the making of Myopia, and more.
Before we get into your debut solo album, I wanted to ask about Towers, the collection of unreleased demos you released with Hundred Waters earlier this summer. What did revisiting and unveiling those songs mean to you?
The reason we did that is because they were from the time of The Moon Rang Like a Bell, and it was the 10th anniversary, so that got us thinking about those songs. It made me dig into all the material we had as Hundred Waters. There’s no shortage of songs or things we’ve made, or that I’ve made, and I think letting go of those things is a particular challenge for me. I make things on a very personal level, as a lot of artists do, and finding a reason to let them out into the world is a whole different mentality for me. I’ll make something and it’ll sit on a hard drive forever. There’s probably an element of perfectionism, where you always want to make it a little better. I’m learning to let go of a lot of things now.
With time, there’s less perfectionism and a little more clarity, and I thought the songs were great. I was like, “Why not share them? Why hold on to them?” I’m really trying to push myself to share more of my art and put more things out there. It’s a bit of a challenge for me to make that leap, but I’m proud of those songs. They felt right as a collection, too, I’m not sure why. I listened to hundreds of things, and these just felt like they fit together. That felt like a reason also – I love tracklisting things and songs coming together and becoming something greater. And they felt completed to me.
I also love the sequencing: starting with these indie pop songs, followed by a piano ballad, and then closing with an ambient piece. Did the tracklist have any particular significance for you?
At the time, I think it was more subconscious with those songs. But when I look back, it’s interesting how those songs encapsulate the different styles I’m interested in and the different styles of music we’ve put out as a band. I’m very much interested in pop songwriting, concise lyrics, and classic songs, but I also love experimental, long-form, abstract music. With Hundred Waters, we always tried to marry those elements. Personally, I find it hard to articulate certain things, and I find comfort in really abstract sonic landscapes that sometimes have no words or vocals. But I also love trying to crystallize those into a concise song. It depends on what comes out. Sometimes those songs come out, and sometimes they’re meant to form into a more crystallized thing. Does that make sense?
It does. In the context of Myopia, I feel like the more instrumental, abstract pieces feel like moments of comfort or peace, while the more arranged, structured songs carry a different kind of emotional intensity. With revisiting this older material, how did you reflect on the period around The Moon Rang Like a Bell?
I’m not really the kind of person who listens to – I mean, Myopia I’ve listened to it an insane amount, I guess maybe because I had to do everything myself, I had to really live with it. But with those Hundred Waters records, to be honest, writing them was so intense, and once they were done – I probably haven’t listened to that record since it came out. [laughs] I don’t revisit it. But I’m proud of those songs. At the time, I was probably striving for something and being a lot more critical of my writing. Listening back to those songs, with time, I think I appreciated the writing more, and maybe gave myself a little more credit. I was distanced from that time period, so I was able to look at it a little more objectively. It’s trippy, listening to things with time and distance. As a writer, maybe you feel the same way – when you first write something, and then you give it a few months or a year and you reread it, you’re much more objective because you’re not so in the moment.
Are there plans for more releases like Towers going forward?
Yeah, definitely. There’s a stockpile of things that I’d like to share, and that I will share. There’s definitely more where that came from.
Going into Myopia, you’ve alluded to feeling the need to see what life could be like outside of Hundred Waters, in which you started experiencing “a bit of an identity crisis.” I’m curious how that presented itself to you – both the moment of crisis and the solution to it.
I think I just needed to find that relationship with myself again. When you’re in a collective or group, and you’re presenting yourself to the world as a group, it’s natural – anybody in a band probably feels the same way – you kind of have to really know your part in it and know your role. With Hundred Waters, to be frank, I think there were elements where I felt maybe not credited for some things that I would do. It was this blurriness where I didn’t really know who was doing what. I think to solve that, I just needed to go off and do things myself, to see what it was that I was doing and find my identity again. That’s the short answer.
There are a lot of elements to what I do and enjoy doing creatively – visually, production-wise, lyrically, in terms of form. I just needed to see those things through and see what an album would look like with just my own vision. It gave me a little more creative control, and I could learn more about myself, my strengths, and my limitations. I think learning your strengths and weaknesses is really important; you’re not as hard on yourself for the weaknesses because you know your strengths.
Now that the album is finished, do you feel like that blurriness has cleared up a bit? Do you see your roles in the band in a new light?
Totally. I think when you challenge yourself to do things alone, you have a lot more appreciation for the things that other people are doing. It spun things in a new light for me. It made me see a bit more clearly what elements everyone was contributing, appreciate them, and just live my own existence and find myself again. With Hundred Waters, we really lived and breathed that band so fully. We lived together, I was in a relationship for half of it with one of the bandmates, we toured together. We really were enmeshed as a group, which was great for the art. But on a personal level, I think it was good that I found a bit of my way outside of that.
Some of the songs on Myopia came together while you were still playing with the band. Did that complicate what you were working on outside of it, given that you wanted it to have its own identity?
A little bit. It was just a decision to keep the songs to myself instead of sharing them and making them live within the band. I was a lot more private with them. This album feels pretty personal to me – it’s like a diary. I just kept it to myself, worked on it myself, as opposed to even sharing them with someone or showing them to the band.
How did joining Bonobo for their global tour in 2022 inspire you, not just vocally and creatively, but also in terms of the places you got to visit? How much of that inspiration ended up seeping into your personal process?
It definitely influenced something. A lot of the record was pretty much recorded by the time I went on that tour, so sonically it didn’t influence it much. But it definitely influenced new songs that I wrote on that tour and the next record that I’m starting to work on. Traveling had a huge influence on me. I got to see a lot of places I’ve never been to, experience a lot of cultures I’ve never experienced, meet a lot of people. That tour was huge for me, but I’m not sure if it influenced this record a ton. I shot the music videos during my time off from that tour, so it was a part of my life. Also, the group and the community and the crew of that whole experience – I just learned so much about so many things and ways to put a show together. The level of production on that tour was really inspiring and new to me.
How did it feel different from the sort of entanglement of being in a band? Was it refreshing?
Just having one role – just picking up a microphone and singing those songs – I didn’t have any equipment to set up. I wasn’t loading in and out of a venue or driving a tour van or all the other elements of touring that we did as Hundred Waters. It was really refreshing to just do one thing, and the level of those shows afforded that luxury of only wearing one hat, really. Everyone was in their own specialized role, which was really nice. As a performer, I really appreciated it because I only had one thing to think about, which freed up a lot of space. I could put more time into the performance or the costuming. And it wasn’t my project, which was a bit refreshing too, so I could detach a little. I do crave playing my own music because that’s where my passion is, but it was nice to simplify and separate all those roles. There were so many people making it happen, and they’ve worked together for over a decade as a band and crew, so they really knew each other and how they worked. It was a really well-oiled machine.
I know you gathered a lot of field recordings while making Myopia. One moment that really stands out to me is what sounds like street noise set against the harp instrumental ‘City Rats’.
That was actually me at a bus stop with my iPhone. I wrote a lot of the album in New York, and that’s definitely the city I associate it with.
Were there influences that were outside of New York or that felt like an escape from your environment at the time?
When you phrase it like that, the music is that place. I was moving around so much. We were finishing the last Hundred Waters record, and that’s when I first broke away from the group a little bit. I went to New York to live with a friend and experience things and find my way. I hear the sounds of New York, the sirens, the garbage dump, all these crazy sounds all the time. It’s a very chaotic place, but the one thing that always centers me when I travel is the music. The music is that oasis.
With the harp song in particular, I actually took that harp with me all over New York. It was a little mini harp. I was trying to learn that piece for weeks, I had to practice it all the time. I would take the harp with me in a cab to the park, I would just play that thing everywhere. The harp was the thing that centered me, a place I could get lost in. I really love learning pieces and getting things under my fingers because it is a kind of meditation. You just blank out and practice this thing over and over until your fingers can do it. It’s an abstract answer, but the harp was the island that I would go to and take around with me. I do love being outdoors and going to parks, but the idea of going somewhere for a vacation or respite – to me, it’s the same thing if I can get lost in practicing something.
I love how you introduce your definition of myopia on the album simply by making it the subject of the opening track, ‘All I See Is You’. I’m curious how that idea started to resonate with you more broadly – not just as a metaphor for relationships with other people, but also in how you perceive yourself and the world.
Yeah, that’s honestly more of how I think of myopia when I think of the word. I know it is quite literally – love is blind, obsession, how you only see one person when you’re falling for them. But for me, I’ve always been interested in the role of the self in love for somebody else. Particularly with Myopia, it’s about how myopic we are in general with how we see ourselves and challenging the lens we see things. For me, this life is about expanding as much as possible – expanding your view, expanding your perception, expanding your awareness. And those things do take work. I’m always trying to check myself: Am I really seeing the full picture? Am I really seeing things as they are? How much am I in my own head?
I guess that comes with making music or art in general – you spend so much time with yourself, creating your own world. Snapping out of that world, then, it’s like, what is real? What is perception? These are just ongoing themes in my life. As an introverted, creative person, what is the full picture? Also, in terms of how we see ourselves, I think we can be really limiting and critical. We can be really hard on ourselves and not see how amazing we are or how amazing the things around us are. It’s really trying to work on unlearning the things we’re taught that put limitations on us. Especially now, all of our information can be quite myopic too, in these streams and channels that are fed to us. I do try to at least pick up books I would never pick up or do things that break the cycle a bit, that challenge me, so I’m not completely in my bubble.
Another thing I love about the record is the way some songs tend to dissipate and pick themselves back up. ‘One and Only’ ends with this recording of – I’m not sure who it is.
My goddaughter, she’s a little kid.
Tell me how that came about.
I had the kind of ballad version of the song, and I was trying to reimagine it with something a little more upbeat to see what it could become. I overheard a beat at a restaurant I was at, and I was like, “That’s the vibe I’m going to put to the chords.” It happened very naturally and became its own separate version of the song, and then my friend’s kid came over and literally sang this bit into the microphone unprompted. It just felt really natural to put them together, I don’t really know why. It kind of gave the track listing a bit of a lift and helped it transition into ‘Autograph’. A lot of the record was very instinctual and serendipitous – what happened happened, and I kept a lot of it. I also got rid of a lot of it. Weeding out things that didn’t need to be there was a particular challenge, too.
I’m fascinated by the relationship between electronic, classical, and pop music on the album, which seems to affect the overall flow. The two singles at the center of the album, ‘Autograph’ and ‘Lure’, which revolve around this push-and-pull of desire, are also the most pop-forward. Do you tend to reach for or associate different sounds or instruments depending on the emotional dynamics you’re bringing out? You said it’s pretty instinctual, but looking back, do you feel like there’s a thread there?
Subconsciously, probably yeah. A lot of what I write is probably also circumstantial and depends on what I have around me at the time. My environment and instruments change so much that it’s probably more about what’s right in front of me. Once I started collecting little synthesizers and drum machines to travel with, that’s probably where I started making more of the sound you hear on ‘Autograph’ and ‘Lure’. I don’t think of it super intentionally. In my mind, all these different genres, classical and dance music, are really similar to me; they just exist in different time periods. Even the idea of time – I don’t know how to articulate this and it probably sounds really woo, but I don’t think of classical music as the past music and electronic music as the future music. It’s the same thing, just different tools. Classical music – those were the pop songs at the time, those were the dance songs. People were waltzing to this music at parties; it had a different place than what eventually became art museum music. Because my process is so serendipitous and instinctual, I have to trust there’s a reason those tools are there, or that there’s a reason I picked up that guitar or drum machine.
You talked about how so much of this record was about doing it yourself and having creative control. Do you feel the need to stick to a similarly solitary process in the future, or does it lead you to bringing other people into it?
I think it gave me a much clearer sense of what I’m good at and what maybe someone else might be better at in certain areas. The short answer is no, I’m not interested in working completely solo. I did it and learned what I needed to learn. But the next record I think is going to be much more collaborative, it’s going to have a lot more input. Because I have a clearer sense of self and identity in what I can bring to the table, that will only make collaborating easier moving forward. I want to open up that process again, for sure. I have a lot more respect for the more technical side, I know what someone else could do that maybe I couldn’t. I’m interested in exploring that more.
In what ways has it made you more confident in yourself?
I’m more confident asking for help, because I know how far I can take something, and I know how much time it will take. But I do feel that I challenged myself to do this project in the way I did, and I’m proud that I did it. I know there’s still so much more I have to learn. I wouldn’t say the record made me more confident; it opened up just as many areas where I want to learn more. It was humbling.
This interview has been edited and condensed for clarity and length.
Phantogram, the duo of Sarah Barthel and Josh Carter, have announced their next album: Memory of a Day is out October 18 on Neon Gold Records. Today’s announcement comes with the release of the new single ‘Come Alive’, which follows earlier cuts ‘All a Mystery’ and ‘Happy Again’. Check it out below.
Speaking about ‘Come Alive’, Phantogram shared:
The song started as a gritty chopped-up drum beat Josh made, that John Hill took and messed around with an old analog synth to make the sci-fi sound you now hear, and Sarah added in the bouncy bass line. Together we then messed with running some synths through guitar pedals, arranging a cool-sounding melody and hook, and we knew we had something special.
Lyrically, the song started from an idea of looking at life like a calendar. Our good friend Dan Wilson sat down with us and brainstormed different interpretations of a life calendar and the fleeting nature of life. For us, “Come Alive” is about embracing existence and recognizing how fragile life is. It’s about rolling with the punches, facing your fears, learning to cope with failures and success, pain and joy, addiction and connection. There are new days and new ways of turning into stone, and there are new ways to come alive.
Fontaines D.C. are back with their fourth album, Romance, out now via XL Recordings. The follow-up to 2022’s Skinty Fia was made with producer James Ford, and it was previewed by the singles ‘Starbuster’, ‘Favourite’, ‘Here’s the Thing’, and ‘In the Modern World’. “We’ve always had this sense of idealism and romance,” guitarist Conor Deegan shared in a statement. “Each album gets further away from observing that through the lens of Ireland, as directly as (Mercury Prize-nominated debut) Dogrel. The second album (the GRAMMY-nominated A Hero’s Death) is about that detachment, and the third (Skinty Fia) is about Irishness dislocated in the diaspora. Now we look to where and what else there is to be romantic about.” Read our review of Romance.
Sabrina Carpenter has released her sixth studio album, Short n’ Sweet, via Island Records. The follow-up to 2022’s Emails I Can’t Send spans 12 tracks, including the advance singles ‘Espresso’ and ‘Please Please Please’. In an interview with Variety, Carpenter described the record as “the hot older sister” of Emails, explaining: “It’s my second ‘big girl’ album; it’s a companion but it’s not the same. When it comes to having full creative control and being a full-fledged adult, I would consider this a sophomore album.”
Spirit of the Beehive, YOU’LL HAVE TO LOSE SOMETHING
Magdalena Bay‘s sophomore album, Imaginal Disk, has arrived via Mom+Pop. The follow-up to 2021’s Mercurial World was preceded by the singles ‘Tunnel Vision’, ‘Image’, ‘Death & Romance’, and ‘That’s My Floor’. “The way it makes sense in my mind is these layers of meaning… the album within itself is just an exploration of self and consciousness, and is quite personal in some ways,” the duo’s Mica Tenenbaum told The Line of Best Fit. “But of course, we love to sprinkle in the sci-fi within the lyrics and narrative and storytelling.”
GIFT have dropped their sophomore LP, Illuminator, via Captured Tracks. The follow-up to 2022’s Momentary Presence features the previously shared tracks ‘Wish Me Away’, ‘Going in Circles’, ‘Later’, and ‘Light Runner’. “When I started GIFT, it was inherently my project, and Momentary Presence was very much me,” vocalist/guitarist TJ Freda explained in our Artist Spotlight interview. “When it came time to record Illuminator, everyone seemed a lot more invested and really wanted to be a part of it. The previous album was during COVID and it was a little hard and I didn’t want to wait for anyone, so I took the reins. But this time, I was getting really inspired by the way I individually collaborated with everyone.”
Hundred Waters singer and multi-instrumentalist Nicole Miglis has issued her debut solo album, Myopia, via Sargent House. The singles ‘All I See Is You’, ‘Autograph’, ‘Lure’, and ‘Sleep All Day’ arrived ahead of the release. “There’s the myopia of desire, love, obsession – the feeling of only being able to see that one person in everything, everywhere,” Miglis said in press materials. “There’s also personal myopia of not seeing your potential or your power, of not zooming out; limiting beliefs.”
Gillian Welch and David Rawlings have released their first new album in four years. Woodland, which follows their 2020 covers LP All the Good Times, was recorded at the couple’s own Woodland Sound Studios in Nashville. “Woodland is at the heart of everything we do, and has been for the last twenty some years,” they said in a statement. “The past four years were spent almost entirely within its walls, bringing it back to life after the 2020 tornado and making this record. The music is (songs are) a swirl of contradictions, emptiness, fullness, joy, grief, destruction, permanence. Now.”
iluminati hotties, the project of Grammy-winning producer and engineer Sarah Tudzin, has returned with a new album. Power, the follow-up to 2020’s Let Me Do One More, features the previously unveiled tracks ‘Can’t Be Still’, ‘Didn’t’ (featuring Cavetown), ‘The L’, and the title track. In 2022, Tudzin decamped to an Airbnb in the Joshua Tree desert, where she finished seven songs, before enlisting Death Cab for Cutie’s Jason McGerr to record drums in a Washington state suburb in April 2023. “Power is not a grief record,” according to a press release. “It is not a love record, either. Instead, it is a real-life record, a reflection of all the things Tudzin has endured or enjoyed during the too-long span since Illuminati Hotties’ wonderfully infectious last batch.”
The Softies are back with their first new album in 24 years, The Bed I Made, out now via Father/Daughter. The duo of Tiger Trap’s Rose Melberg and Pretty Face’s Jen Sbragia have already previewed the LP with the songs ‘California Highway 99’, ‘I Said What I Said’, ‘Tiny Flame’, and ‘Go Back in Time’. Shortly before writing and recording the album, both members lost their mothers. “Grief is an amazing opener,” Melberg said in a recent Paste interview. “We were both extremely raw and we sought a lot of comfort from each other. I think the album really came from this revitalized emotional connection between me and Jen.”
Cash Cobain has dropped his much-anticipated new album PLAY CASH COBAIN. Following up last year’s Pretty Girls Love Slizzy, the New York rapper-producer promoted the record with the singles ‘Dunk Contest’, ‘Fisherrr’, ‘Rump Punch’, and ‘Problem’. It boasts guest spots from Flo Milli, Big Sean, Fabolous, Luh Tyler, YN Jay, Anycia, 6lack, Don Q, Rob49, Chow Lee, and more.
New York City band Closebye (featuring recent Artist Spotlight interviewee Margaux on bass) have released their second album, Hammer of My Own. The follow-up to their 2022 debut Lucid News includes the advance tracks ‘Two Knocks’ and ‘Lucky Number’. According to singer-songwriter Jonah Paul Smith, the album’s lyrics deal with “the struggle to come to grips with self-reliance, with constant shifts of blame, projection, codependency, ending with a new sobering independence, and the realization that only you can be your own savior.”
Starchris is the debut album by Body Meat, the project of singer-songwriter and producer Chris Taylor. Out today via Partisan Records, the record was preceded by the singles ‘North Side’, ‘High Beams’, ‘Focus’, ‘Electrische’, and ‘Crystalize’. Though this is Taylor’s first full-length since creating the moniker in 2016, the Philadelphia artist has rolled out several EPs, including 2021’s Year of the Orc and 2019’s Truck Music.
Other albums out today:
Luna Li, When a Thought Grows Wings; Fake Fruit, Mucho Mistrust; Geneva Jacuzzi, Triple Fire; Amy Allen, Amy Allen; Lainey Wilson, Whirlwind; Melt-Banana, 3+5; Gilligan Moss, Speaking Across Time; Brian Gibson, Thrasher.
Photos are invaluable but what if your memorable pictures, memories, and moments get deleted? Losing important photos due to accidental deletion, device malfunction, or formatting can be a distressful experience. Luckily, there are several photo recovery tools and methods available online that you can try to restore those missing photos. In this guide, we will explore many photo recovery hacks to help you learn what to do when your photos go missing on Windows/Mac device. So let’s get started.
Why Photos Appear Missing on Your Device?
Photos can go missing on any device for various reasons, ranging from accidental deletion to software or hardware-related errors. Understanding these causes can help you to prevent photo loss scenarios and choose the appropriate photo recovery method to restore them easily. Some common reasons why photos get deleted on any device are:
Accidental Deletion: One of the most common reasons for missing photos is accidental deletion. You might have accidentally deleted photos while trying to free up space or remove unwanted files.
Software Updates: Updates to the operating system or specific apps can sometimes cause data corruption or deletion, resulting in missing photos.
Virus or Malware Attacks: Malicious software can corrupt or delete files, including photos, resulting in abrupt data loss.
Formatting: Accidentally or intentionally formatting any storage device, including your hard drive, SD card, or USB drive, can lead to the deletion of all stored photos.
App Glitches: Bugs or glitches in the photo management app or gallery can also lead to the deletion of files including photos from your device.
Quick Methods to Recover Missing Photos
Here are some popular photo recovery methods that you can try to restore lost or missing photos on your device:
Method 01: Check the Recycle Bin/Trash
Every deleted photo on your Windows or Mac device goes to the Recycle Bin or Trash folder, respectively. Before you use any photo recovery software or apply manual methods to restore missing photos, it is important to check the Recycle Bin/Trash folder. All you have to do is:
Windows Recycle Bin:
Firstly, double-click on the Recycle Bin icon on your Windows device.
Browse through the deleted photos and check the specific picture(s) you need to restore.
Right-click on the photo you need to recover and select “Restore” to save selected photos at their original location.
Mac Trash:
Click the Trash icon located in the Dock.
Browse or search for the deleted photos that you need to recover.
Right-click on the photo(s) and select the “Put Back” option. This will save the selected photos to their original location.
Method 02: Use File History or Time Machine Backup
If your deleted photo is not present in the Recycle Bin or Trash folder, then it might have been permanently deleted from your device. In such cases, you can use any previously created backups to recover missing photos. You can use in-built File History or Time Machine backups to restore missing photos. For this:
Windows File History:
Go to Control Panel and select “File History”.
Now, click Restore personal files from the left navigation pane and navigate through the backup folder to find the saved versions of your photos.
Choose the desired version you want to recover and click the green “Restore” button to save selected photos at the desired location.
Mac Time Machine:
Start the process by connecting the external drive that contains your Time Machine backups to your Mac.
Click on the Time Machine icon from the menu bar and select “Enter Time Machine”.
Browse through the backups to find the missing photos. Select them and click Restore to save selected photos back on your Mac.
Method 03: Use Cloud Backups to Find Missing Photos
Another backup alternative that you can try to find missing photos on any device is via cloud backups. Here’s how you can use Google Photos, iCloud Photos, etc. to recover your missing pictures:
Google Photos:
Visit the Google Photos website in any web browser or open the app on your device.
Use the search option to find the missing photos.
Select the pictures you want to recover and click the Download
iCloud Photos:
Visit icloud.com and log in with your Apple ID.
Click the “Photos” option to view your iCloud photo library.
Select the photos you want to restore and click the download icon.
Method 04: Use Third-Party Photo Recovery Software
Instances may occur when the above-mentioned photo recovery methods might not work or help you to restore missing photos. In such cases, you can use a professional photo recovery software to get missing photos back. There are several third-party tools available online but we recommend using the Stellar Photo Recovery tool. This all-in-one photo recovery software can recover your pictures deleted due to any reason, including accidental deletion, formatting, virus or malware attacks, etc.
Here’s how to restore missing photos on any device using the Stellar Photo Recovery software:
Step 1: Firstly, download and install the Stellar Photo Recovery tool on your Windows/Mac device. Launch the software and from the homepage, select the storage location where your deleted photo was earlier stored and click Scan.
Step 2: Wait till the scanning process is completed. After that, preview the recoverable photos and choose the ones you need to restore.
Step 3: Click the Recover button to save selected photos at the desired location.
Tips to Prevent Accidental Deletion of Photos
Now that you are familiar with the methods to recover missing photos on your device, it is important to avoid such instances of accidental deletion of photos. Consider the below tips to prevent data loss:
Regular Backups: Use cloud storage (Google Photos, iCloud, Dropbox) and physical backups (external hard drives, USB drives) to ensure your photos are backed up in multiple locations.
Avoid Accidental Deletion: Be cautious while deleting files and always double-check before emptying the Recycle Bin or Trash.
Keep Software Updated: Make sure all the software programs and your device OS are up-to-date to benefit from the latest features and security enhancements.
Wrapping Up
Issues like missing important photos on your device can be distressing and get you in trouble, but with the right photo recovery software and manual approaches, you can often recover your precious memories. From checking the Recycle Bin/Trash to using third-party photo recovery software, there are multiple methods to recover deleted photos. Additionally, implementing preventive measures such as regular backups and careful handling of your devices can help protect your photos from future loss.
Imagine the sudden, tragic loss of a loved one due to another’s negligence. Each year, countless families face this devastating reality, leaving them to navigate not only emotional turmoil but also financial strain.
Wrongful death, a legal term differentiating such cases from other claims, arises when a person’s life is taken due to the recklessness or intentional actions of another. Grieving families must often deal with the profound impact of these events, seeking justice and compensation to alleviate the burdens left in their wake.
Grounds for a Wrongful Death Lawsuit
Understanding the legal grounds for a wrongful death claim begins with grasping the concept of negligence. According to the wrongful death attorneys in Chicago at TPMB, negligence occurs when an individual or entity fails to exercise reasonable care, leading to another person’s harm or death.
This principle is central to most wrongful death cases, providing a basis for legal action. Other grounds might include medical malpractice, where a healthcare provider’s error results in death, or product liability, which arises when a defective product causes fatal injuries.
Various scenarios can give rise to wrongful death lawsuits. For instance, a fatal car accident caused by a drunk driver, a botched surgical procedure, or a dangerous consumer product might all be grounds for legal action.
Each situation, though unique, shares a common thread of preventable loss due to another’s actions or inactions. Understanding these legal foundations is crucial for families seeking justice.
Who Can File a Wrongful Death Lawsuit
Eligibility to file a wrongful death lawsuit typically falls to those most directly affected by the loss.
Immediate family members, such as spouses, children, and parents, often have the primary right to pursue these claims. These individuals have experienced a significant emotional and financial impact, making them the most appropriate parties to seek justice and compensation.
In cases where the deceased did not leave behind close family members, other relatives or dependents might be eligible to file. A personal representative, often appointed by the court or named in the deceased’s will, can also take on the role of filing the lawsuit. This representative acts on behalf of the deceased’s estate and beneficiaries, ensuring that the legal process is managed effectively and that any awarded damages are distributed according to the estate plan.
Understanding who can file a wrongful death lawsuit helps clarify the initial steps in seeking justice and ensures that the appropriate parties are involved in the legal process.
Damages Recoverable in a Wrongful Death Lawsuit
In wrongful death lawsuits, various types of damages can be recovered to compensate the family for their loss.
Economic damages cover tangible losses, such as medical bills incurred before the death, funeral and burial costs, and lost wages the deceased would have earned. These damages aim to alleviate the financial burden placed on the family due to their loved one’s untimely death.
Non-economic damages address the more intangible aspects of loss. These include pain and suffering endured by the deceased prior to death, as well as the emotional anguish experienced by the surviving family members.
Loss of companionship and loss of consortium, which refer to the deprivation of the deceased’s presence and support, also fall under non-economic damages. These elements recognize the profound personal impact on the family.
In certain cases involving egregious misconduct or gross negligence, punitive damages may be awarded. These damages are intended to punish the wrongdoer and deter similar behavior in the future. While not commonly granted, they serve as a critical aspect of accountability in severe cases.
Understanding the types of damages recoverable in a wrongful death lawsuit is crucial for families seeking justice and compensation. It highlights the comprehensive nature of the legal process and the importance of addressing both financial and emotional losses.
The Legal Process
Navigating a wrongful death lawsuit involves several key steps, each requiring meticulous attention and preparation.
Initially, a thorough investigation is conducted to gather evidence supporting the claim. This stage involves collecting medical records, accident reports, witness statements, and expert testimonies. Establishing a solid foundation is critical for building a compelling case.
Once sufficient evidence is gathered, the lawsuit is officially filed. This step marks the beginning of the legal proceedings. The complaint outlines the basis of the claim, detailing the negligence or misconduct that led to the wrongful death. Filing the lawsuit initiates the formal legal process and notifies the defendant of the allegations.
The discovery process follows, during which both parties exchange relevant information and evidence. This phase includes interrogatories, which are written questions that must be answered under oath, and depositions, where witnesses and parties involved provide sworn testimony. Discovery ensures that all pertinent facts are disclosed, allowing each side to prepare their arguments thoroughly.
Settlement negotiations often take place throughout the lawsuit, aiming to resolve the matter without going to trial. Both parties may reach an agreement on compensation, avoiding the uncertainties of a courtroom verdict. If a settlement cannot be achieved, the case proceeds to trial, where a judge or jury examines the evidence and determines the outcome.
A Step Towards Justice and Accountability
Navigating the aftermath of a loved one’s wrongful death is incredibly challenging. The complexities of wrongful death lawsuits, combined with the emotional and financial toll, can be overwhelming. Understanding the grounds for a wrongful death claim, knowing who can file, and comprehending the types of damages recoverable are crucial steps in seeking justice.
The legal process, from investigation to potential trial, requires meticulous attention and expertise. Hiring an experienced wrongful death attorney can make a significant difference, providing essential guidance and representation. These professionals play a vital role in managing legal intricacies, negotiating fair settlements, and advocating for the family’s rights.
In the face of such a profound loss, pursuing a wrongful death lawsuit is a step towards justice and accountability. It serves as a reminder that those responsible for the death are held accountable, and it provides a measure of financial relief to help the family move forward. Families are encouraged to seek the support they need and to understand that they do not have to navigate this path alone.
Imagine you’re driving down the highway, surrounded by massive commercial trucks. A shocking statistic reveals that drug and alcohol use is a factor in approximately 10% of fatal truck accidents. This disturbing reality underscores the significant dangers posed by impaired truck drivers.
Understanding the liability in these cases is crucial for ensuring justice and safety on our roads.
This article will explore the risks associated with drug and alcohol use among truck drivers, outline the concept of liability, and provide actionable tips for protecting yourself on the road.
The Dangers of Impaired Truck Drivers
Impaired truck drivers pose a severe threat to everyone on the road. Drug and alcohol use can drastically reduce a driver’s reaction time and coordination, making it challenging to respond quickly to sudden changes in traffic. Impaired judgment and decision-making can lead to risky maneuvers and poor choices while driving.
Increased drowsiness and fatigue are common side effects of substance abuse, further hindering a driver’s ability to operate a large commercial vehicle safely. Given the size and weight of trucks, the risks associated with impaired driving are magnified, leading to potentially devastating consequences.
Understanding Truck Accident Liability
Liability in truck accidents determines who is legally responsible for the damages. In incidents involving impaired drivers, multiple parties could be held accountable:
Truck Driver: Direct responsibility falls on the driver if drug or alcohol use caused the accident.
Trucking Company: The company may be liable for negligence in hiring, training, or failing to monitor drivers for substance abuse.
Other Parties: Occasionally, other entities like vehicle manufacturers or maintenance providers might share liability if their actions contributed to the accident.
Understanding these nuances is essential for pursuing justice and compensation in such cases.
Evidence of Driver Impairment
Establishing a truck driver’s impairment requires robust evidence. Key types of evidence include:
Police Reports: These often contain results from field sobriety tests, breathalyzers, or blood tests conducted by law enforcement at the scene.
Witness Testimony: Eyewitness accounts can provide crucial details about the driver’s behavior before and after the accident.
Trucking Company Records: Employment records, drug testing results, and any previous disciplinary actions can help demonstrate a history of substance abuse issues.
Collecting and presenting this evidence is critical for proving impairment and establishing liability in truck accident cases.
The Role of Personal Injury Law
Personal injury law plays a pivotal role in truck accidents involving drug or alcohol use. Victims have the right to seek compensation for their injuries and losses.
An experienced personal injury attorney can thoroughly investigate the accident to uncover all relevant details, gather and preserve crucial evidence of impairment, navigate the complexities of liability involving the driver, trucking company, or other parties, and advocate for fair compensation that covers medical expenses, lost wages, and other damages.
Legal expertise is essential for ensuring victims receive the justice they deserve and that negligent parties are held accountable.
Protecting Yourself on the Road
Staying safe while sharing the road with large trucks requires vigilance and proactive measures. Maintain a safe distance from trucks to allow for sudden stops or turns. Be mindful of the truck’s blind spots, typically on the sides and rear, and avoid lingering in these areas.
Refrain from making erratic lane changes or sudden maneuvers that could startle the truck driver. By adopting these practices, you can reduce your risk of being involved in an accident with a commercial vehicle and enhance overall road safety.
Seeking Justice After a Truck Accident
Understanding the significant impact of drug and alcohol use on truck accident liability is essential for ensuring accountability. Holding negligent parties responsible is crucial for justice and safety on the roads.
Victims of such accidents should seek the guidance of an experienced personal injury attorney to navigate the complexities of their case, gather necessary evidence, and fight for fair compensation. While the emotional and physical toll of truck accidents can be overwhelming, knowledge and proactive legal action can help secure the justice and support needed for recovery.
From August 12th to 16th, 2024, the Edinburgh Arts Fringe, one of the world’s most prestigious arts festivals, showcased HUXI, an extraordinary dance piece from China that captivated both audiences and critics alike. Directed by the renowned artist Zhibo Zhao and choreographed by Jiaolong Ma, the performance was featured dance artist Xi Chen as the lead dancer. Xi Chen’s interpretation brought to life the deep philosophical concepts of Qi (the vital life force) and the balance of Yin and Yang through the expressive medium of modern dance, leaving an indelible mark on the festival.
HUXI is a meditation on the relationship between breath and existence, conveyed through the language of dance. The performance’s versatility was showcased in two different settings: the intimate Paradise in Augustines Theatre and the vibrant streets of Edinburgh.
At Paradise in Augustines Theatre, HUXI unfolded as a meditative journey. Xi Chen’s portrayal of Qi was lauded by critics for its precision and fluidity, with a dance reviewer noting, “Xi’s movements seemed to embody the very essence of breath, creating a visual narrative that was as powerful as it was subtle.” The minimalist stage design and subdued lighting further emphasized her every gesture, allowing the audience to connect deeply with the performance on both emotional and spiritual levels.
In the streets of Edinburgh, HUXI truly transformed into a living, breathing artwork. Amid the festival’s energy and chaos, Xi Chen led her fellow dancers in a performance that retained its intimacy and philosophical depth despite the dynamic environment. Her calm, graceful movements provided a striking contrast to the bustling festival streets, creating a powerful visual and emotional juxtaposition. Dressed in a flowing white robe, Xi seemed to pause time around her, inviting passersby to engage with the dance on their own terms. Audience members were reportedly “mesmerized” by her ability to maintain focus and elegance in such a challenging setting, further solidifying her reputation as a masterful performer.
Traditionally known for her use of vibrant colors and layered visuals, Xi Chen’s collaboration with Zhao and Ma brought a new, minimalist approach to her performance in HUXI. The stripped-down black-and-white simplicity allowed the audience to witness the purity of her movement, unencumbered by external embellishments. Through her breath and movement, Xi Chen conveyed a profound sense of artistic expression that resonated deeply with the audience, with one attendee commenting, “Chen’s performance was a revelation—an intimate dialogue between the dancer and the viewer, stripped of all but the essentials.”
Zhibo Zhao and Jiaolong Ma, both with extensive backgrounds in dance education and teaching at the Beijing Dance Academy, infused the performance with a depth that transcended mere aesthetics. Their experience in teaching and choreographing for diverse audiences enabled them to craft a piece that was not only artistically innovative but also accessible to a broader range of viewers. This educational influence allowed the complex philosophical themes of HUXI—such as Qi and the balance of Yin and Yang—to be communicated with clarity and emotional resonance. Xi Chen, as the lead dancer, benefited from this thoughtful guidance, which helped her embody these intricate ideas in a way that was both deeply expressive and universally understood. The synergy between Chen’s artistry and the directors’ educational expertise resulted in a performance that was richly layered yet approachable, making the philosophical themes of HUXI accessible to a diverse audience.
HUXI carved out a unique space within the Edinburgh Arts Fringe, offering moments of calm and introspection amid the festival’s usual noise and excitement. The street performances, in particular, transcended mere choreography; they became a form of silent dialogue with the city and its people. By removing the physical barriers of the theatre, the directors allowed HUXI to breathe more freely, making the performance accessible to all, regardless of whether they had initially planned to attend.
The rhythm of breath central to the performance became a shared experience, as even the ambient noise of the city seemed to sync with the dancers’ movements. This interplay between the performers and the environment added complexity to the piece, further highlighting Xi Chen’s role as a leading artist in the performance. As that critic aptly summarized, “Xi Chen’s performance in HUXI was not just a dance—it was an invitation to pause, to reflect, and to breathe, offering a profound encounter with art in its purest form.”
Whether experienced in the hushed confines of Paradise in Augustines or amidst the energy of the festival streets, HUXI invited audiences to engage deeply with the performance, one that will undoubtedly continue to influence discussions on the evolving role of Chinese dance in the global contemporary performance landscape.
Spirit of the Beehive
Magdalena Bay
GIFT
Hundred Waters singer and multi-instrumentalist 
Gillian Welch and David Rawlings have released their first new album in four years. 
iluminati hotties
The Softies
Cash Cobain has dropped his much-anticipated new album PLAY CASH COBAIN. Following up last year’s Pretty Girls Love Slizzy, the New York rapper-producer promoted the record with the singles ‘Dunk Contest’, ‘Fisherrr’, ‘Rump Punch’, and ‘Problem’. It boasts guest spots from Flo Milli, Big Sean, Fabolous, Luh Tyler, YN Jay, Anycia, 6lack, Don Q, Rob49, Chow Lee, and more.
New York City band 
Starchris is the debut album by Body Meat, the project of singer-songwriter and producer Chris Taylor. Out today via 
