Mitski has released her new album, The Land Is Inhospitable and So Are We, via Dead Oceans. Billed as her “most sonically expansive, epic, and wise album to date,” the follow-up to 2022’s Laurel Hellwas recorded at the Bomb Shelter in East Nashville and Sunset Sound Studios in Los Angeles. It incorporates an orchestra arranged and conducted by Drew Erickson, as well as a full choir of 17 people — 12 in Los Angeles and 5 in Nashville — arranged by Mitski. Working with longtime producer Patrick Hyland, Mitski drew inspiration from everything from Ennio Morricone’s bombastic Spaghetti Western scores to Carter Burwell’s Fargo soundtrack. The singles ‘Bug Like an Angel’, ‘Star’, and ‘Heaven’ preceded the LP.
Vagabon, the project of Lætitia Tamko, has followed up her 2019 self-titled album with Sorry I Haven’t Called, out now via Nonesuch Records. Tamko co-produced the record with Rostam, and it features the previously unveiled singles ‘Carpenter’, ‘Can I Talk My Shit?’, ‘Do Your Worst’, and ‘Lexicon’. “This whole record is how I talk to my friends and how to talk to my lovers,” Tamko explained in a statement about the LP, which was madewhile she was grappling with the loss of her best friend in 2021. “I think honesty and conversational songwriting can become poetry. There’s beauty in plainly speaking without metaphors and without flowery imagery.”
Nation of Language have released their third album, Strange Disciple, via [PIAS]. Following Brooklyn outift’s 2021 effort A Way Forward, the LP was recorded with producer Nick Millhiser and includes the previously shared songs ‘Sole Obsession’, ‘Weak in Your Light’, ‘Stumbling Still’, and ‘Too Much, Enough’. “The overarching theme of Strange Disciple is infatuation and how one’s reality can be warped by it,” the members explained in press materials.
Explosions in the Sky are back with End, their first studio album in seven years. Having been previewed with the songs ‘Moving On’ and ‘Ten Billion People’, the follow-up to 2016’s The Wilderness has arrived today via Temporary Residence. “Our starting point was the concept of an ending – death, or the end of a friendship or relationship,” the band said in a statement. “Every song comes from a story, or an idea one of us has had that we’ve all expanded on and made its own world. Maybe it’s our nature, but we kept feeling that the album title was ultimately open to a lot more interpretation – the end of a thing or a time can mean a stop, but it can also mean a beginning, and what happens after one thing ends might pale in comparison to what it becomes next.”
Margo Cilker has issued her sophomore LP, Valley of Heart’s Delight. “I wrote these songs surrounded by the wild landscapes of the Northwest, but I was leaning toward the place I’d come from,” the Washington singer-songwriter said of the follow-up to 2021’s Pohorylle. “I felt cut off from my family and the valley that held them. I spent hours thinking about my sense of belonging. I’d traveled through many places and then, when the travel stopped, I ruminated on where I had ended up. Where were you when the music stopped? I was in Enterprise, OR. And there in Enterprise, my mind drifted back to the Valley of Heart’s Delight.
The Pretenders have dropped a new album, Relentless, following up 2020’s Hate for Sale. Produced by David Wrench at the Battery Studios in Willesden, North West London, the LP features a collaboration with Radiohead/The Smile’s Jonny Greenwood, who orchestrated the strings on closer, ‘I Think About You Daily’. “I enjoy seeing the various meanings and origins of a word,” Chrissie Hynde said of the album’s title in a press release. “And I liked the definition: ‘showing no abatement of intensity.’ So when it came to an album title, it seemed fitting. You know…to keep doing it. I think anyone in a band is constantly questioning if they should keep going. It starts as a youthful pursuit and eventually, it makes you wonder, why am I doing this? It’s the life of the artist. You never retire. You become relentless.”
Woods have come out with a new LP, Perennial, via their own label Woodsist. The follow-up to 2020’s Strange to Explain started out with a series of guitar, keyboard, and drum loops made by the New York band’s Jeremy Earl, who was joined by bandmates Jarvis Taveniere and John Andrews to flesh out into songs at his home in New York. Featuring the advance tracks ‘Another Side’, ‘Weep’, ‘Between the Past’, and ‘White Winter Melody’, the album was then completed at the Panoramic House studio in Stinson Beach, California.
Neon Indian’s Alan Palomo has put out his debut solo album under his given name. Out now via Mom+Pop, World of Hassle was previewed by the Mac DeMarco collaboration ‘Nudista Mundial ’89’ and another single, ‘Stay-at-Home DJ’. The 13-track LP was originally conceived as a new Neon Indian album before Palomo decided to let go of his political album concept, followed by the Neon Indian name, during quarantine. In a press release, Palomo said it was ‘Stay-at-Home DJ’, which he wrote with his brother in 2019, that “signaled a change in direction I’d been looking for but had yet to really know what to do with. When things slowed down during the pandemic I dusted it off and from its uncontrollable outgrowth came World of Hassle.”
Other albums out today:
Diddy, The Love Album: Off the Grid; Baroness, Stone; Nas, Magic 3; Sarah Mary Chadwick, Messages to God; Willie Nelson, Bluegrass; Carlos Niño & Friends, (I’m just) Chillin’, on Fire; Worriers, Trust Your Gut; Gum, Saturnia; Madison Beer, Silence Between Songs; Sextile, Push; S. Carey & John Raymond, Shadowland; Thirty Seconds to Mars, It’s the End of the World But It’s a Beautiful Day; FIZZ, The Secret to Life; The Beaches, Blame My Ex; Public Speaking, An Apple Lodged in My Back; Barenaked Ladies, In Flight; K.Flay, MONO; Brothers Osborne, Brothers Osborne; Haley Blais, Wisecrack; TesseracT, War of Being; Vic Mensa, Victor; Bombino, Sahel; Brian Setzer, The Devil Always Collects; Corey Taylor, CMF2; Vumbi Dekula, Congo Guitar; Josh Semans, To Will a Space Into Being.
J Balvin, Usher, and DJ Khaled have joined forces for a new song, ‘Dientes’. Mura Masa, Fred Ball, DJ Luian, Mambo Kingz, Tainy, and Michael Brun co-produced the track, which interpolates Usher’s 2004 hit ‘Yeah!’. It arrives alongside an accompanying visual, which you can check out below.
J Balvin’s most recent album was 2021’s Jose. Since its release, he’s shared ‘Ten Cuidado’ for Pokémon’s 25th anniversary, a remix of Metallica’s ‘Wherever I May Roam’ for The Metallica Blacklist, and joined Burna Boy on ‘Rollercoaster’.
FKA twigs performed a cover of Opus III’s 1992 song ‘It’s a Fine Day’ at last night’s Vogue World: London, a pre-London Fashion Week event celebrating British creatives and benefiting performing arts organizations such as the National Theatre and Royal Opera House. She was joined onstage by the Rambert Dance Company as well as Cara Delevingne. Watch it below.
Other artists in attendance included Little Simz, Stormzy, Lord Andrew Lloyd Webber, and Annie Lennox, who closed the show with a performance of Eurythmics’ ‘Sweet Dreams (Are Made Of This)’.
FKA twigs’ most recent project was the 2022 mixtape CAPRISONGS. Last June, she dropped the song ‘killer’.
SZA has shared a new acoustic version of ‘Snooze’ featuring Justin Bieber. Bieber made a cameo in the recently released video for the track, which appeared on SZA’s 2022 album SOS. Listen to it below.
On Instagram today (September 15), Drake announced he has a new song with SZA, ‘Slime You Out’, due out at noon. SZA will be heading out on a run of North American shows at the end of the month.
Doja Cat has released a new single called ‘Balut’. It’s the latest preview of her forthcoming album Scarlet, following ‘Attention’, ‘Paint the Town Red’, and ‘Demons’. Check out the track, which was produced by Yeti Beats and Rogét Chahayed, below.
Scarlet is set for release on September 22 on Kemosabe/RCA.
“I was forcing myself to separate myself from my artist persona and trying to tone myself down, because I felt like people wouldn’t like me if I was really that,” yeule said in a statement. Of the new single, they added: “In the garden of my mind, it’s dark and prickly sweet and sticky. And just like that the scar in my heart slashed across the center, the most precious one was made.”
softscars will arrive digitally on September 22 via Ninja Tune, with a physical release to follow on October 6.)
Embroidery is an ancient artform that involves decorating fabric using a needle and thread. The threads used in embroidery come in a variety of materials, each with their own properties and uses. Choosing the right thread material is key for any embroidery project. The six most common types of embroidery threads are cotton, polyester, silk, rayon, metallics, and wool. Understanding the characteristics and best uses for each type of thread will allow beginner embroiderers to select the best materials for their projects and create beautiful works.
Cotton Thread
Cotton is the most widely used thread for embroidery and cross stitch. Cotton thread comes in different weights measured in ply or strands. 6-strand embroidery floss is a lightweight cotton thread that is made of six loosely twisted strands. When divided, the strands can be used individually for detail work or together for coverage. Cotton floss has a soft matte finish and is available in a huge variety of colors.
Cotton thread has many advantages for embroidery. It has a soft feel and drapes well on fabric. The matte finish gives cotton floss a classic handmade look. Cotton is also breathable, absorptive and comfortable to wear, making it ideal for embroidering clothing, home decor items, and baby projects. Cotton floss is easy to work with as well, with just the right amount of twist to prevent tangling and knotting. The strands separate easily for shading and detail work. Lastly, cotton thread has good durability, holding up well to regular washing and wearing. The colors stay vibrant over time.
The main downside of cotton is that it lacks stretch and elasticity. Cotton embroidery requires careful stitching to prevent puckering of the fabric. It’s also prone to shrinking if washed improperly. Choosing pre-shrunk floss and washing gently helps cotton embroidery maintain its shape and size.
Polyester Thread
Polyester embroidery thread has many of cotton’s positives without the negatives. It is colorfast, durable and won’t shrink. Polyester thread comes in several weights such as embroidery floss, pearl cotton and fine machine thread.
Polyester floss has many advantages. It has a wide color palette with bold, vibrant hues that resist fading. Polyester floss is also very strong and durable with excellent abrasion resistance, allowing it to stand up to frequent wearing and washing. In addition, polyester has more stretch and elasticity than cotton, making fabric pucker less of an issue when embroidering. Polyester thread also dries quickly and resists mildew, making it a good choice for outdoor projects.
The main downside of polyester is that it lacks cotton’s softness. Polyester can feel stiff and plasticky. The sheen is also more noticeable compared to cotton. Choosing a matte finished polyester floss can help reduce shine.
Silk Thread
Silk embroidery thread produces stitches of unparalleled beauty and elegance. Silk has a luminous, almost glowing sheen that gives embroidery dimension. The soft drape and texture mimic the look of oil paintings. For those seeking the finest embroidery without learning the craft, specialized embroidery services can create stunning works in silk.
Silk floss provides a beautiful lustrous finish that makes embroideries appear almost woven into the fabric, similar to brushstrokes in oil paintings. It also comes in rich, deep jewel tones that lend depth and shading within the design. Silk is an extremely strong natural fiber that resists fraying, tangling or knotting while embroidering. It has a soft and silky smooth texture that drapes gracefully on fabric without causing stiffness or bulk.
The drawbacks of silk thread are that it lacks elasticity, requires delicate washing, and can be expensive compared to other embroidery threads. Silk thread also requires a sharp embroidery needle to avoid shredding the delicate fiber. Using short lengths of floss and maintaining gentle tension while stitching minimizes these issues. For complex designs, embroidery services may be worth utilizing to harness silk’s full potential.
Rayon Thread
Rayon embroidery thread combines the drape and sheen of silk with the accessibility of cotton. It comes in different weights like pearl cotton or 6-strand floss.
Rayon thread provides a beautiful sheen resembling silk at a fraction of the cost, allowing embroiderers to achieve lovely dimension in their stitches. Rayon floss is also soft, silky and smooth without feeling stiff or plasticky. It drapes gracefully over fabrics without distorting their drape or hand. Rayon comes in a vibrant range of colors that mimic the intensity of silk, making it excellent for shading and detail work. It also has more elasticity and stretch than cotton floss, reducing the likelihood of fabric puckering.
The weaknesses of rayon thread are low abrasion resistance, potential shrinking when washed improperly, and possible dye bleed. Gentle handwashing and press cloths help embroideries created with rayon maintain their vivid color and original size.
Metallic Thread
Metallic threads add showstopping sparkle and elegance to embroidery projects. The two main types are metallic filament thread and Japanese metallic thread.
Metallic filament is made by twisting thin strips of polyester film around a fine filament core. It comes in silver, gold, copper and other shimmering metallic colors. The glossy finish beautifully catches and reflects light. Metallic filament works well for outline designs since it creates clearly defined stitches with a luminous metallic edge. It also withstands repeated washing and wearing without tarnishing or flaking over time. Overall, metallic filament thread adds an elegant, glamorous touch well-suited for projects like evening bags, bridal wear, or holiday decor.
The main limitation of metallic filament is that it lacks drape and elasticity. It works best in formal designs requiring an opulent metallic touch.
Japanese metallic thread is made by wrapping delicate metallic strips around a silk or rayon core. The soft core gives it more pliability compared to the stiffer synthetic metallic filament thread.
Japanese metallic thread has the elegance of real metal leaf or foil, providing a soft, shimmering effect to embroidery. It comes in a wider selection of colors like reddish-coppers, vintage gold, and variegated metallic blends. The wrapped construction also makes it easier to pierce through fabric without breaking. However, the delicate foil surface requires gentle handling and stitching to avoid snagging. Japanese metallic thread works best for specialty projects requiring a highly textured metallic finish.
Wool Thread
Wool embroidery thread provides unmatched warmth, beauty, and resilience. Wool’s natural elasticity prevents puckering on fabrics. Types of wool thread suitable for embroidery include tapestry and crewel yarns.
Wool thread provides unparalleled stitch definition due to the loft and texture of the wool fibers. The natural fibers reflect light variably for wonderful depth and dimension in the stitches. Wool is also extremely durable and resilient, standing up to years of heavy use and washing. It has excellent insulating properties, making it ideal for warm winter embroideries and adding durability to outerwear when used for embellishment.
The drawbacks of wool thread are that it lacks the lustrous sheen of rayon and silk, can feel scratchy or irritate sensitive skin, and is generally dry clean only. Carefully finishing stitch ends minimizes the potential for stitches to become abrasive with use and wear. Extra gentleness is required when handling wool to prevent irritation.
Choosing Thread Weight
Beyond fiber content, embroidery threads come in a variety of different weights. Lighter weights are ideal for delicate detail work while heavier threads stand out more in bolder designs.
Some common weights of embroidery thread include single strand threads like quilting or machine embroidery thread, which can be used for sewing lightweight fabrics or for detailed stitching. Stranded cotton like 6-strand floss is easily divided for shading and provides good coverage for most hand embroidery. Pearl cotton is a lightly twisted 4-ply cotton well suited for cross stitch and embroidery when good coverage is desired. Lastly, tapestry and crewel yarns are heavily twisted wool or acrylic threads excellent for needlepoint or crewel embroidery where defined stitches and texture is important.
The thickness and amount of twist impacts properties like stiffness, coverage, and overall look. Testing different thread weights and analyzing their effect will help embroiderers determine the best thread choices for their projects.
Choosing the Right Thread
With the plethora of thread options available, choosing the best materials for an embroidery project can be challenging. Here are some tips to keep in mind when selecting threads:
Consider the weight and texture of the thread relative to the fabric being embroidered. Heavier canvas fabric suits thicker threads while delicate satin requires finer threads. Analyze the project’s intended use and care requirements – will it be washed frequently or embellish a family heirloom? Durable and colorfast threads suit frequent use, while keepsakes deserve quality materials. Match the thread content to the design style for best effect. For example, metallic threads for ornate goldwork, silk for fine artistic needlepainting, or cotton for classic peasant embroidery.
Compare the thread’s sheen against the overall desired look, whether bold or understated, lustrous or matte. Check colorfastness ratings if frequent washing is required, and opt for natural fiber threads when an organic look and drape take precedence over durability. For important works, invest in high quality threads from reputable manufacturers – quality materials yield stellar results.
Take time to analyze the fabric, design elements, intended use and your artistic vision when selecting embroidery threads. Doing so will ensure you choose the perfect materials to bring your needlework artistry to life.
Conclusion
The array of embroidery threads available means every artisan can find the ideal materials to bring their needlework visions to life. Cotton provides affordable convenience while polyester offers durability for frequent use. Silk lends an elegant, painterly drape and rayon gives affordable sheen. Metallic threads create glamorous accents and wool provides unmatched resilience. Considering fiber traits, thread weights, and project needs makes choosing easy. With quality materials and skillful technique, you can adorn fabric with inspirations through the ancient art of embroidery.
With the exponential rise of live-streamed sporting events on the internet in modern times, the popularity of sports betting has grown just as rapidly. The effects of this massive growth can easily be seen and felt today through its influence on the online gaming industry, movies and TV shows, social media and other forms of popular culture.
Sports Betting and the Online Gaming Industry
Lightning-fast internet speeds, live-streamed events and a general rise in popularity among fans of a wide variety of sports have undoubtedly revolutionized the way people engage in online gambling. This rise in technology makes it easy for fans to place wagers using online platforms like Betway sports betting on their favorite teams and events.
Today, all fans need is a smartphone and an internet connection to watch matches and participate. This increase in convenience has contributed significantly to its growth in popularity. The largest streaming sites know this, and competition is fierce when deciding who can stream the biggest matches online.
To keep up with demand, the online gaming industry has been quick to embrace the popularity of online gaming, with many online casinos and gambling sites, including Betway sports betting, now offering options for betting on live games alongside their traditional offerings.
The Rise of Sports Betting in Movies and TV
Betting on live sporting events and matches have also found its way into more mainstream forms of entertainment, with some highly-rated TV shows and movies exploring storylines and narratives centered around sports betting.
It takes center stage In movies like “Uncut Gems” and “Two for the Money,” which showcase and glamourize the thrilling highs and lows of wagering on live sports games. These films entertain viewers by depicting the exciting nature of betting on live matches while shedding light on the dramatic consequences it may have on people who take wagers too far.
Hit shows like “The League” have further cemented their presence in culture by incorporating sports betting into their storyline. Shows like this portray characters participating in fantasy leagues or engaging in friendly wagers and generally play a role in normalizing sports betting and making it more socially acceptable.
Sports betting has proven to be a significant, lasting aspect of popular culture due to its integration into the online gaming industry and its dramatic portrayals in modern movies and shows. The convenience and accessibility of Betway sports betting and other platforms have made the activity more appealing to a wider audience. At the same time, popular media has helped popularize and normalize the activity. Its influence on popular culture will likely expand even further as it continues to grow in popularity.
One of the most effective ways to nail a Halloween costume is to mix pop culture relevancy with some creativity. While there is no harm in putting on classic Halloween costumes like a witch, cheerleader, or skeleton, you may want to explore trending ideas that can put you in the limelight.
One of the good things about Halloween costumes is that you can take a trending idea and add your own twist to it. As you check out online stores such as 3Wishes for sexy Halloween costumes, you may want to find something that aligns with recent trends. Here is a list of top costume ideas that are expected to rule Halloween in 2023.
Barbie from the ‘Barbie’ Movie:
The “Barbie” movie has recently beaten Nolan’s “The Dark Knight” to become the highest-grossing Warner Bros. movie in the domestic box office. Don’t be surprised if most of your friends come to the Halloween party dressed as a Barbie (or a Ken).
There are infinite ways to interpret the Barbie costume in this year’s Halloween. While you have the option to try different looks of Margot Robbie in the movie, you can also replicate the outfits of other Barbie characters, such as President Barbie, Weird Barbie, Doctor Barbie, and others. You can even choose different Barbie nail art to complement your look.
The Eras Tour:
You don’t have to be a Swifty to appreciate Taylor Swift’s Eras Tour wardrobe. And the way this tour is shattering world records, Taylor’s Eras Tour outfits are going to be a popular choice for this year’s Halloween costumes.
Taylor had made more than a dozen costume changes throughout the first US leg of her Eras Tour. So, you get a lot of options to work with for your Halloween costume material. If you already have a spectacular bodysuit, you may want to use it to complete your Eras Tour-inspired Halloween costume.
Wednesday Addams:
Over the years, people have drawn inspiration from the Addams Family characters for their Halloween costumes. The popularity of Netflix’s “Wednesday” series, which was released last year, has only acted as a catalyst.
Dressing up as a student from the Nevermore Academy can help you catch some eyeball at a Halloween party this year. Also, it is a lot easier to recreate the classic look of Wednesday Addams. You may also consider going for the ballroom dress worn by Jenna Ortega’s character during Rave’N.
Queen Charlotte:
Queen Charlotte: A Bridgerton Story is one of the most-watched series on Netflix, and its popularity continues to grow. This prequel series manages to capture the grandeur of the Regency era so beautifully that we may see its influence on this year’s Halloween costumes as well.
Dressing up as a character from this series may be a bit challenging since it is difficult to replicate the ballgowns. However, Halloween costumes are all about creativity. So, you may do a modern interpretation of the outfit and wear a cute corset with a mini skirt of your choice.
The Little Mermaid:
Disney characters have had a major influence on Halloween costumes for decades. 2023 is not going to be different. The recent live-action remake of The Little Mermaid has shown us how to perfect Ariel’s look for this year’s Halloween.
Halle Bailey’s portrayal of Ariel in the movie not only made the character more inclusive but also gave us glimpses of how to replicate the look of an animated Disney character in real life. With a shell bra, starfish earrings, and a sea-green skirt, you can give your own twist to the classic Little Mermaid Halloween costume.
Wrapping it up,
While all these trends are expected to reign supreme during this year’s Halloween, replicating some of these outfits can be tiresome. You may find some of these costumes on the internet. However, you may need to use your creativity to come up with your own version of the costumes. Since most of your friends are going to choose one of these trending Halloween costumes, you need to put your own twist on it if you want to stand out from the crowd.
At the present moment, having a kid kind of seems like a nightmare. As a brunch server, I see children at their worst — throwing pancakes and eggs, ripping open sugar packets, crying incessantly for an unknown salve. But maybe the worst offense a child poses to me happens after the parents leave the restaurant: the total and utter lack of alone time. A child isn’t a noisy roommate you can shut out and ignore, but a fragile being whose care is under your watch. For a very long time.
This hesitancy is part of the reason I wanted to talk to Gina Rushton, an Australian reproductive rights journalist whose new book The Parenthood Dilemma: Procreation in the Age of Uncertainty discusses seven topics weighing on future parents’ minds. Starting with reproductive rights and justice, the politics behind how to get and who can get an abortion, respectively, to climate change, imagining a ravished Earth our children have no choice but to live in, to inheritance, unsure of what parental or emotional traumas our offspring could inherit, Rushton poses thoughtful questions that ask who people are in relation to children. What makes us vie or shy away from children, and if it’s something we desire, will it even be feasible?
Our Culture sat down with Rushton to talk about the weight of her work, reproductive rights, emotional labor, and more.
Congratulations on this excellently researched, thoughtful book. How does it feel being so close to its publishing date?
It’s really exciting! It’s strange, I did the Australian and international versions really differently. Between publishing it here, then rewriting it for an international audience, everything happened with Roe v. Wade, so it’s almost a completely different book. You always have that thing with a book, especially with nonfiction, where you think, ‘Are these conversations still going to be going on? Has it aged?’ As a journalist, you always think about if this story is over now. But people still having these conversations is still kind of heartening.
This book is built on so many conversations, time, and research. When did the idea for it start, and how long did it take you to put everything together?
I worked as a reproductive rights journalist for a few years, and I think there was always a book I wanted to write about the relationship between reproductive rights and the politics of motherhood. I had a health scare where I was hospitalized, had emergency surgery, and was told I had endometriosis. I think that I was really clear I didn’t want kids before, but that spooked me and put a bit of pressure on me: ‘That’s fine if you don’t want kids, but what are the reasons, are they substantial enough?’ That sped things up a bit.
I thought it’d be very poetic if I tried to write the book in nine months, which was just so silly in retrospect. But I did it! In a funny way, I think that adds an urgent texture to it. It feels like someone trying to race to their own decision, aware of their own fertility and urgency of the question.
It also must have been tremendously hard hearing everyone’s stories. You seek out people who can’t have children, who have had harrowing miscarriages, and who, depending on where they live, are forced to have kids when they aren’t ready. Was there ever a moment where it felt like all of this was so hard to keep doing, and how did you push yourself through it?
The nature of my work as a reporter on reproductive rights and gendered violence, I’m quite used to having heavy interviews. It can be really overwhelming. The majority of people cry in my interviews, and are really upset. For some people, they’re disclosing their abortions for the first time to anyone, which is a really big responsibility and I don’t take that lightly. I think, for me, there’s a huge duty and care when you have someone’s story about how you represent it and the autonomy that you give them. I think, usually, they’re telling it for a reason. It might be as simple as they want to be heard or believed, or they feel angry at the systems that have made their situations worse. I think as long as you’re communicating the limits of journalism and books to them, it’s ethical. I think that makes it easier for me when there’s a clear set of rules and expectations between me and the interviewee about what we’re doing here and what the likely outcomes are. I think people who have had terminations know that it’s really common, but nobody talks about it. Most people I’ve interviewed feel a sense of responsibility to tell their story because they realize they’re speaking for so many people in the population.
Particularly with abortion and sexual violence, you have to remember that the person you’re talking to — the thing of theirs that’s been taken away was their choice or autonomy. If you’re putting them on the page and not giving them any control over how that story is represented… You know, you’d never send quotes to a politician to check. But you do with survivors because you’re not going to repeat the sense of taking their autonomy away from them. It’s an interesting journalistic debate. Sometimes I feel like there are old-school journalists who love rules for the sake of rules. But it’s like, ‘Is this really relevant?’
Something I enjoyed is that you often pull from fiction or artists in order to get at a wider truth. You mention quotes from novelists like Sophie Mackintosh and Sheila Heti, journalists like Deborah Levy and Jia Tolentino, and even musicians like Mitski to talk about motherhood — what made you look to these people?
Challenging what motherhood is and the politics of motherhood is actually a really rich artistic thing, there’s almost too much out there. The funny thing is I found much less on the ambivalence or decision of whether or not to become a mother. The reason I found so many people to quote for the book is that the book is about whether to become a parent, but actually it’s about being a person in the world when the future seems so precarious. For example, the Mitski quote, it’s about body image, and Jia Tolentino, with hope and labor and climate and gender relations and stuff. I think also, there was an element of: ‘I’m desperately seeking anyone else who’s had a single thought about any of these things to help me with my decision,’ and they’re all women writers who I think have something valid to say about how to be in the world. The nicest part of the nine months was the reading I got to do. It was just really helpful.
I went into this book thinking primarily about climate change, as noted by the ‘Age of Uncertainty’ you describe. Of the seven sections you write about, which one do you think was your primary concern before you started writing, and did it change with further research?
That’s a really good question. I think climate was my primary concern as well, alongside what I felt were the expectations around motherhood. I wrote this in the aftermath of this horrific bushfire season in Australia, and because I was working as a reproductive rights journalist, I was interviewing doctors about delivering babies into smoking maternity wards, people wanting ultrasounds to see how the smoke affects them. We’ve always had bushfires in Australia growing up, but they were so infrequent. I think everyone around me was thinking, ‘Is this going to be every summer? How on earth are we going to have kids in such an unstable place?’
I was also really resistant to the expectations of mothers, and I didn’t want those expectations for myself. I’d spent so many years engaging with politicians that had an idea of, like, ‘If you have a uterus, this is what you should do with your life.’ And so it was a mixture of climate, and pushing against that.
The change, for me, was having to confront those more personal questions of family and personal relationships, and being in a relationship with a man and those less comfortable questions of family-making and how your own history informs your concept of family. I think I had a naive journalistic sense that I’d be able to avoid that. I had this fantasy that I’d still write authentically but not put everything on the page. Which was naive. It’s funny because climate is a really easy shorthand explanation as to why you don’t want kids, and no one really questions it, because yep, things are turning to shit. But I think for many people, it’s a combination of reasons.
As an American, abortion is very much on most peoples’ minds due to the recent Roe v. Wade overturning. One quote that really stuck with me in the book was: “To write about abortion is to hear constantly from people who know what is going on and to hear nothing from people who can change it.” When you think about these politicians, and these protestors outside of abortion clinics, what do you think they’re missing, what’s preventing them from understanding other peoples’ realities?
Ugh, god. It’s so funny because yesterday I was streaming the Republican debate while I was walking and it’s crazymaking, the level of distance between the reality of abortion and peoples’ experience and the politics of these abortion bans. So much of my career in reproductive rights was fact-checking. There was just this disconnect between doctors, counselors, and the actual lived experiences of women seeking terminations. There’s genuine deceit, there’s politicians that are fearmongering and absolutely know what they’re doing — this ‘abortion up till birth’ myth — there’s people who are so disconnected and don’t realize there have been people in their life who have had terminations that they genuinely don’t believe the shit they’re saying. I have to say, the anti-abortion lobby in the U.S. is so well-funded and well-organized, and has tentacles so far-reaching, it’s almost incomprehensible. I obviously came against that here, but comparatively, our anti-abortion effort is pathetic. It hasn’t made its way into politics in the same way. We haven’t imported much of that stigma. It sounds so obvious to say, but we do live in an era where politicians can just say stuff that’s just not true. And mistrust of experts and medical institutions — here’s what abortion doctors are actually saying about which terminations happen and under which circumstances — it becomes irrelevant. It’s pretty depressing.
The medical racism chapter is especially hard to hear — due to either ignorance or false beliefs, people of color aren’t believed or receive adequate medical treatment at a statistically significant rate, even resulting in them being turned away from the doctor unwilling to examine them. How do you even begin to combat this issue: more training for doctors, hiring new and diverse staff, or something else?
It’s particularly fraught in reproductive healthcare — we know the racial disparities in maternal outcomes, and also in abortion care, and one thing is that there needs to be a reckoning with the racism of the reproductive rights movement, overall. It really was a white feminist movement, and there’s just so much in the history there with eugenics and racism and it probably hasn’t been reckoned with. In Australia we have really big disparities in the Indigenous population, and a lot of that has to do with not reckoning with our history. Attempted genocide, really. From the people I spoke to, I think greater representation and diverse medical staff seems to be really important. But I think we’re almost so far from even that, I don’t feel like there has been an acknowledgement that there is racism in healthcare. I think we’re almost ten steps back. I think if you asked the average Australian if we have a racist healthcare system, I don’t think they’d say yes, even though we absolutely do. In my research, the problem absolutely exists in the U.S., in the U.K., and it’s rampant in Australia.
Admittedly, my reason for not wanting kids is a little selfish — I love alone time. But I’m not by myself in this, and there’s a growing population of young people who are also opting not to have any. Why do you think that is?
I think it’s a combination of things. One really liberating thing about writing this book at this time is that, obviously excluding luck and fertility and all that, it’s never been more of a choice whether or not to have kids. There’s a huge population of people pushing back against the idea that it’s the default. And I think there are people who really don’t want to have kids, and in another time and place, they probably would have, because it was the norm. And I think that’s a really beautiful thing where people now don’t feel as much societal pressure to do so. And then I think there’s a cohort of people who maybe would want kids, but we haven’t made parenthood super tenable for people. Particularly in a cost of living crisis at the moment, it seemed almost like a luxury consumer choice, one in which the individual is supposed to burden that. We haven’t properly socialized the cost of child bearing and child rearing. It should be a human right to have a kid: you should have enough societal support to do so. And I say this as someone in a country with universal healthcare and way more societal support than you guys [in America] do. And still, it’s really hard to have a kid. The housing crisis here is insane, and there are a bunch of factors that go into whether or not people have kids and how many kids they have.
I also think that people are pushing against notions of what family means, and what community means. Our generation and the ones after us aren’t as wedded to the idea of the nuclear family as a sense of community and belonging. I think there’s people who know you can have kids and be really present with them and that’s not just the domain of parents. Obviously, there are cultural groups who have recognized and known that for a very long time. But speaking as a white, middle-class Australian, there’s more of an acknowledgement of what community and family means. People have realized the nuclear family can be a lonely place to be.
It was also interesting when you dove into gender dynamics between a heterosexual couple and the emotional labor they have to submit to. Right now, we’re at a time where insecure men are turning to people like Andrew Tate and Jordan Peterson, who reaffirm an aversion to emotions in favor of being strong and silent. But this is brought on by a social reckoning of leftists validly attacking the patriarchy and harmful emotional patterns men fall into, leading to feel like masculinity is ‘under attack.’ What’s the happy medium, where men are able to recognize their privilege yet not take it as an individual flaw?
I know! And I have to say, I found that chapter the hardest one to write. Initially I didn’t want to include it, because I found it so fraught and I was so anxious about getting it right. I kept reading it through the lens of a man. But at the same time, I had this chorus of women who were like, ‘This should be the whole book. This is so important, please write about this!’ It’s funny because the catalyst for that chapter was womens’ rage and exhaustion and resentment, but it’s a really sad story how we socialize little boys into the most horrific and isolating social behaviors. It’s really tragic — people aren’t inherently more likely to repress their emotions, you have to be socialized into that.
I have a friend who read that chapter, and he kept having arguments in his head with the narrator, saying, ‘You don’t understand, I’ve been punished for expressing emotions my entire life and then I get into a relationship where I’m punished for not expressing my emotions, and it’s the most jarring, difficult experience. The love of my life wants me to talk about my feelings, and I’ve had 25 years of not being able to.’ It’s a really difficult balance to call out asymmetry without demonizing people who are acting a certain way because they’ve been told to and been rewarded for it. And I still look at that chapter and don’t know if I’ve got it right. I think something I wish I talked about a bit more is that there’s all these women who are like: ‘I’ve been journaling, I’m going to therapy, I’ve been taking responsibility for my emotions, why can’t this guy do the same thing?’ I don’t think the answer is that men have to go to therapy. I think in a funny way, you’re once again privatizing emotion work and paying a professional. I think there needs to be a little more leeway in resolving this stuff through a relationship without it necessarily being seen completely as labor. I dunno. It’s honestly the part of the book that I feel most unsure about.
So getting to the climate change chapter, there’s an ache in my heart as Veronica Milsom talks about the difficulty of remaining environmentally conscious on her podcast Zero Waste Baby. It’s a known fact that corporations are more responsible for climate change than one baby ever will be. How do you think people are reckoning with this dissonance?
Totally! One positive thing is I do think there’s been a big shift. Ten years ago, when you talked about having not not having kids and climate, there was this really personalized individual guilt, like, ‘Oh, I can’t add another carbon footprint.’ I do think there’s been a shift where people are like, ‘Hang on. They’re building a coal mine up the road and I’m supposed to be recycling.’ You know, there has been a shift on that front, where the climate question is more directed at politicians and corporations. I definitely think that’s more productive than us just being freakishly neurotic about our own consumerist behaviors. But it’s also hard because I do think people want to feel a sense that they’re helping the issue and they’re doing something for their kids, they’re planting trees and doing the right thing. There’s also a whole different thing of how you make kids feel like they’re involved and that the world’s not turning to shit. How do you talk to kids about climate change and let them feel empowered that they’re doing something? It’s depressing stuff and I hope people have more of a sense of their political power in voting and protesting fossil fuels and all of that, but it’s a fraught line. I felt really sad for her, putting herself through hell as a mom, trying to make these choices, kind of for nothing.
As someone who is a ‘test tube baby,’ I really enjoyed the fertilization chapter. You and writer Alexandra Kimball make a great point that people think of IVF or egg freezing as this unnatural thing, that infertile mothers should take a hint from God, but we are living in the least natural time ever. We are upright because of vaccinations, pregnancies are moderated by ultrasound, we can genetically test embryos, and the parents might have even met on a dating app. Why do you think people have this misconception, though?
I dunno! I think there’s a lot to unpack in the resistance. I think a lot of it is homophobia and transphobia, that’s tied up in the resistance of assisted reproductive technology. There’s a lot in there that pushes against the gender order. There’s a huge resistance to the idea that a woman doesn’t need a husband to have a kid. That makes a lot of people uncomfortable. When we talk about ‘natural’ vs. ‘unnatural,’ the chances of having two completely fertile people, perfectly making a baby without any complications, infertility, misscarriage, stillbirth, genetic complications, fetal anomalies, that’s the miracle. I’ve always found it interesting, the people who are for procreation and making families are also against technologies that make it easier.
I love the ending idea that, yes, we’ve just spent the past half an hour talking about many difficulties on the road to having children. But people still have them, and that must signal some kind of hope we have for the future. Talk a little bit about this idea and why you chose to end the book on that note.
The interesting thing for me, when I was writing the climate chapter, I was really interested in interviewing climate scientists about why they had kids. Because I was like, the people who have to deal with the most depressing and anxiety-inducing data everyday still are procreating. What gives? I actually think that having kids for them, it almost gave their work a focus. ‘This is why I’m doing this, for a future generation.’ It was a motivating and inspiring force, rather than something that made them paralyzed with fear. I’m hopeful that there’s a catalyst for political action in general — the fact that people are freaking out about whether or not to have kids in the world that we live in — that should be a catalyst for some kind of collective and political action in general. Because if I don’t have kids, I would like to think that the politics that informed that choice are still going to motivate me to behave a certain way. I also think we’re in an era where we have to have hope. There’s something kind of unethical about nihilism, at this point in time. We’re at the moment where we need to turn things around, particularly on climate change, and also other institutions that are on the brink of collapse. The ethical thing, whether or not you procreate, is having a go at helping that.
Interspersed with these conversations with parents and scientists and activists are your own personal musings on motherhood. In total, what do you hope people take away from the book once it’s out?
In terms of motherhood, I hope the book challenges the notion of what a mother is and what we expect a mother to be. In the same way I hope it challenges the idea of who gets terminations — most people who get abortions are mothers. In a funny way, I hope the book challenges what a woman is or what a woman should be.