Being fashionable doesn’t equate to wearing trendy clothes or hoarding expensive fashion brands. If you want to look more stylish without compromising your finances, here are nine valuable tips to help you get started.
Establish your fashion goals
While finding your signature style is not achieved overnight, you must at least have a general idea of what you want to look like. Do you like classic pieces or trendy ones? Are you comfortable wearing bold prints, or do you prefer neutral patterns?
Establish your fashion and style goals and ensure they match your personality, not someone else’s. For more inspiration, you can check social media, browse magazines, or ask loved ones with great fashion sense for style tips and advice.
Organize your closet
Once you’ve established how you want to dress, the next step is to go through your closet. Declutter your wardrobe and remove pieces that no longer fit or do not suit the fashion style you’re developing. Organize your clothes based on importance and season.
Keep out-of-season clothing out of your closet to give way to the ones you wear frequently. Be honest with yourself when decluttering, and refrain from keeping pieces you know won’t make you happy even in the future.
Embrace your body type
Knowing your body type is essential when selecting clothes. Wearing too loose or extremely tight clothing will make you look sloppy, deformed, and uncomfortable. Ensure your chosen clothes fit you properly and accentuate your best body features. The most common body shapes include inverted triangle, apple, pear, rectangular, and hourglass. Figuring out your body type early on can make your style journey more efficient and less stressful.
Wear the right undergarments
No matter how fashionable your clothes are, you will only be comfortable in them if you’re wearing proper undergarments. Ill-fitting lingerie can restrict your movement and cause skin problems later on. Choose bras with breathable fabrics and provide the necessary support. Make sure your undergarments fit nicely and are made of quality and durable materials. If unsure of your cup size, feel free to ask for professional guidance when bra-shopping.
Select seamless underwear that won’t scar your skin or leave visible clothing lines. If you wear stockings, ensure that they match your natural color and are the right amount of thickness. Choose stockings that flatter your legs with high comfort and durability levels.
Know your brands
As a modern consumer, it is essential that you pay attention to the brands you’re supporting. While there’s nothing wrong with buying designer brands, you must be conscious of how they produce their pieces. Be a responsible shopper and choose an environmentally-conscious brand such as Quince, as they are known for offering high-quality pieces at affordable prices. Opt for sustainable fashion so you can always look your best without guilt.
Accessorize wisely
Accessorizing is a great way to elevate your look with minimal effort. However, wearing the wrong ones can ruin your outfit and affect your overall appearance. The most common accessories are jewelry, shoes, bags, hair accessories, scarves, belts, hats, eyeglasses, and watches.
When curating your accessories, ensure they don’t clash and overpower your chosen ensemble. If you’re new to accessorizing or overwhelmed with your options, choose a signature piece you can comfortably wear every day.
Prioritize comfort over trends
Fashion trends come and go, so be wise when buying trendy clothing. Instead of purchasing popular outfits, choosing timeless pieces that can be worn for a long time would be best. Choose high-quality clothing that can stand the test of time. Focus on how the clothes make you feel and not on its outer appeal.
For instance, refrain from wearing skimpy clothing if you’re uncomfortable baring your skin. Or, if you’re not used to wearing stilettos, avoid them at all costs and choose comfortable footwear instead. Never choose fashion over comfort, and avoid falling into fashion trend traps.
Work with a reliable tailor
While you don’t need to tailor-fit all your clothes, having a trusted tailor nearby is ideal. Look for an experienced tailor that provides good tailoring and have them adjust your ill-fitted clothing. Oversized or undersized clothing can make you look awkward and inelegant, while tailored pieces can make you look refined. When choosing a tailor, remember to choose someone who makes you feel comfortable and respects your decisions.
Don’t be afraid to experiment
Developing your fashion style should be a fun journey. Don’t be afraid to go out of your comfort zone occasionally and experiment with various colors, patterns, textures, and styles. Play with colors to know the color combination that best works for you. However, make sure that you’re staying true to your personality and lifestyle. If an outfit is way beyond your budget, don’t force it and look for alternatives. Remember that fashion should serve you and not the other way around.
Embrace the variety of Australian design by combining metropolitan elegance with laid-back beachwear or classic Aboriginal motifs with contemporary styles. Due to Australia’s diverse environment, which ranges from tropical to colder southern parts, think about layering lightweight materials. Experimenting with fashion allows you to express yourself authentically, and womens fashion in australia helps you to explore local designers to find one-of-a-kind items that fit your personal taste.
Sprouted from a Henry James novella, Bertrand Bonello’s The Beast is a melodrama set at the end of human feeling. Told with vague sci-fi mechanics, the film unveils a technofascist AI-run future. Its world is depopulated and barren. Architecture and interior design are minimalist and sterile. It’s a Mark Fisher incarnation of the year 2044, where nightclubs blast throwback hits from 1972. Exhausted by this world without affect, Gabrielle (Léa Seydoux) undergoes an operation to purge her emotions via submerging her body in a black liquid goo that broadcasts memories from her past lives. Intercutting stories from three of her lives (2044, 2014, and 1910), Bonello reconfigures narrative as a sprawling tapestry uncontained by a single lifespan. Desires persist into next lives, culminating in a vast, history-spanning arc.
Like a cumulative moment in Bonello’s filmography, The Beast is a hybrid film, swinging across vines of genre pastiches and moving from costume drama romance into disaster movie into surrealist L.A. stalker thriller into dystopian sci-fi. Bonello’s movies are always haunted by the weight of history. Unresolved pasts plague the future: a maxim maximized in The Beast’s narrative, where past lives bleed seamlessly into their successive lives. The movie’s the ambitious work of a master operating without restraint across a sprawling canvas. A liberated film.
I spoke with Bertrand Bonello about The Beast, growing up as a child of May ‘68, how we’re headed towards a future that neutralizes dreams, Elliot Rodger, dolls, David Lynch, and much more.
I know you were born in the immediate aftermath of May ‘68. I was wondering if you could talk about your early memories of political discourse and generational hopes for revolutionary futures.
I made a couple films about that: The Pornographer and On War. It’s true that being a kid of ‘68 puts you in a difficult situation because your parents have done so much. How do you find your own place? The weight of being a kid of ‘68 was quite heavy for my generation. It was very difficult for my generation to find their political position. It took a long time. Being a kid in ‘68 means you’re raised in the 70s, which was a period of freedom. But then the 80s arrived, which was a big tournament. Then, problems start… [Laughs.] So you always have this kind of nostalgia for something you’ve not really known. It’s a little tough. It’s been a frustration.
How would you contrast that experience with people who’ve grown up in the 21st century? I know you have a daughter who’s in her twenties.
She’s twenty, yah. When I was a kid, I was raised with the idea that tomorrow will be better than today. And for someone like my kid, they know that tomorrow will be worse than today. It’s a huge difference for your desires. When I turned fifteen or eighteen, I had so many desires and dreams; anything seemed possible. Some of them I achieved, some of them I failed. But you’re full of that hope. For younger generations now, it’s difficult to find desires because they’ve been raised with unemployment, ecological problems, terrorism, pandemia. Every day there’s something worse. I did a kind-of trilogy about youth: Nocturama, Zombie Child, and Coma. I was very interested in how youth will enter the world and how the world will enter them.
On the one hand, The Beast is a movie about a time where desire and human emotion is considered obsolete. At the same time, the storytelling leans into melodrama, the genre/mode of exaggerated emotion. What compelled you to explore melodrama?
Very simply, it’s because it’s something I’d never done before. Melodrama drove me to Henry James’ The Beast in the Jungle, which is one of my favourite books. It’s beautiful and heartbreaking. In Henry James, love and fear are always related. This drove me to the “fear movie” for the 2014 slasher part. Then, I took it further into science-fiction, which is another type of horror movie because, in a way, it’s quite terrifying.
You said your interest in melodrama came from the fact that you hadn’t done it before. Is that often how you approach a new movie? You find things you haven’t delved into?
A little, yes. Like many directors, I have obsessions. Which is not a problem. But you don’t want to repeat yourself. So you have to find ways to move and explore. If you want to surprise people, you have to surprise yourself first.
A lot of your movies are inspired by pre-existing texts. House of Tolerance came from research into 20th century brothels and some Victor Hugo writing. Was it different making a (loose) adaptation of Henry James compared to using pre-existing texts as just influences?
Well, there’s still plenty of research in The Beast. For example, George MacKay’s character in 2014 is very inspired by Elliot Rodger, who was an incel who killed people in 2014. All the messages he records on his iPhone are not mine; they’re his words. I like to use real material as starting points. It helps me move into fiction. There’s a lot of things that aren’t from me in the film. Sometimes, big stuff like Henry James or Elliot Rodger. But sometimes small stuff.
Do you remember watching those Elliot Rodger videos when they first came out?
Yes. I have a notebook where I write a lot of things, ideas and stuff. In 2014, I just wrote “Elliot Rodger”. It’s not the character that interested me. It’s not what he did. It’s not the fact that he killed girls. It’s really the videos: the way he expresses himself—so calm, so gentle, so sweet in a way—while saying these horrible things. If I’d written those dialogues myself, they’d have been more crazy. It’s much scarier the way he does it because he seems very normal.
When I saw it at TIFF last month, there was a lot of laughter at first, and then gradually people realized how terrifying it was.
That’s what I heard! TIFF is quite special because people always laugh at weird moments…
I’m very interested in the self-referentiality and intertextuality in The Beast. Am I mistaken or is there a shot from [your short film] Cindy: The Doll Is Mine on Léa Seydoux’s computer?
You’re… you’re good. [Laughs.] To tell the truth, it’s just because it was free of rights. And because there was a doll, which is one of the motifs running through the film.
Dolls appear in your movies pretty often…
I know, I know… I was just talking about obsessions; this is my obsession. There’s dolls in Cindy: The Doll is Mine, House of Tolerance, and Coma too. I think they’re very cinematic. There’s a mix between something very childish and very terrifying. I just have this reflex to put dolls, masks, stuff like that, in my work because they’re things you shoot and don’t know what’s behind them. What thoughts can be behind a doll’s face? One of my favourite shots in the film is when Léa Seydoux is [impersonating] the doll because, on one hand, she’s very beautiful, but you also can’t figure out what she’s thinking. That kind of mystery is always good for the camera.
I went to see Something Organic last night, your first feature. Something that struck me is how the opening shot is very similar to the opener of The Beast: both begin in media res on the protagonists standing in front of a green backdrop. In your head, are you making conscious connections between your movies?
Oh yes, I remember that shot… But no, no. In fact, it’s the contrary. When I see an obvious connection, I try to escape it. Since I work a lot with the same DP, she’s often like “Bert… we’ve done this already. Let’s do something else.”
Another reference in the movie that struck me is Harmony Korine’s Trash Humpers. What’s your relationship to that movie and how’d you come to include it?
[Laughs.] I had this question a lot in New York [at NYFF]. I really like Harmony’s work, and that film is very impressive. I’m not doing an homage though. It shows up as a pop-up on the screen. Pop-ups are these very sudden images that show really insane things. I needed some quick stuff and any frame from Trash Humpers works for that.
Have you had the chance to see Korine’s latest [Aggro Dr1ft] yet?
No, I missed it! Have you seen it yet? Did you like it?
Yes… though I think it’s less a question of like/dislike and more about whether its confrontations move you or provoke you. And it succeeded for me there.
I tried to see it but the scheduling didn’t work, and I’m really afraid that it won’t be released…
I’m sure it’ll end up on the internet somewhere. It’s also the rare movie that might play better on the small screen.
Oh, I really want to see it!
On another note, the eclecticism of The Beast—its disparate strands and genres—reminded me of Coma and its hybrid form. Did you find your approach to filmmaking changed while working on Coma?
The Beast was ready to shoot before Coma. However, we had to postpone the film for many months because of Léa’s schedule. So me and the producer [Justin Taurand] decided to do Coma as a very low-budget, self-produced film shot in three weeks. It was a way to test some stuff for The Beast. Even if the subject is different, I wanted to try to push the hybrid elements further. In a way, the movies respond to each other. But yes, something’s changed for me with these two films. But I think The Beast is the end of a period for me. I put so much in it, so many obsessions. I don’t know if I can go further. I need to go somewhere else.
I also noticed Patricia Coma was listed in the end credits…
[Laughs.] Patricia Coma was the [spectral Youtuber] character in Coma played by Julia Faure. Julia was really helpful for this movie. She was reading over early versions of the script, seeing the dailies, the editing versions. I thought it’d be fun to credit her as Patricia Coma.
The Beast is a very distinct movie and presumably one that’s difficult to market. Was it hard to find financing?
Yes. The film is really expensive. In France, the more expensive the movie is, the more they want it to be very straight. Getting $8 million to do something like that is very difficult and took very long. It’s a co-production with Canada, about 10% of the funding came from here.
This is the first time you shot in the U.S. How’d you find it was different from shooting in France or even Canada?
To be honest, I only did like two nights in Los Angeles: when she drives the car, stuff like that. The rest, including the house, was in the South of France. The clubs are in Paris since the U.S. is so expensive, especially with SAG and stuff. But when I arrived in L.A., there’s something very exciting about shooting there because we’re, of course, so full of all these American films.
A lot of people have pointed out that your L.A. resembles David Lynch’s incarnation of a very dark, nocturnal California. I know you put Twin Peaks: The Return on your Sight and Sound list. Was he very consciously in your mind?
Not that much. But that’s because there are some directors you don’t have to think about. They’re inside you. If I think about Twin Peaks: The Return, there is something that David Lynch—and Jean-Luc Godard, I’d say—allowed us: to search for freedom. When I think about Lynch, I think much more about his freedom than his style.
Have you thought about what kinds of things you want to explore further?
Not at all. To be honest, I feel a little empty. I put a lot into this film. But not empty in a bad way. I need to fill myself again: reading, walking, traveling.
This interview has been edited and condensed for clarity and length.
The renowned Dubai Watch Week will run from the 16th of November until the 20th of November, 2023, at DIFC Gate Avenue in the United Arab Emirates.
The numerous events held at the event will include six engaging panels focusing on retail strategies, adversities, and innovation in luxury watches.
Event attendees will also be able to attend masterclasses by some of the leading figures in the world of watches, including by brands like Audemars Piguet and Louis Vuitton.
With a series of talks, displays, and activations, Christie’s will present world experts in luxury and art.
Mali Velasquez is a singer-songwriter who grew up in Texas and is now based in Nashville, Tennessee. After posting a video of herself performing an early version of ‘Bobby’ – a song in which she lays down memories surrounding the loss of her mother when she was in high school – producer Josef “Jos” Kuhn reached out about recording the track, which led to them working together on her striking debut album, I’m Green, which came out on Friday. The subject matter of these songs is heavy yet delicate – “Laying over Mom/ No one seems to wonder how I carry on,” she sings on ‘Clovers’ – but as much as they revolve around grief, Velasquez is able to hold them with a kind of raw tenderness that leads her down new paths. Much of I’m Green rests on remembering a life that is lost or wavering at the edges, the way adulthood snaps at you in those fragile moments, but it also, in its organic beauty and vibrant arrangements, hints at the new life pushing her along. Whatever the meaning behind it is, Velasquez won’t spell it out but rather pour her heart into it, carrying it on.
We caught up with Mali Velasquez for the latest edition of our Artist Spotlight series to talk about her earliest musical memories, moving to Nashville, the making of I’m Green, and more.
Would you mind sharing some of your earliest memories of connecting to music?
Earliest memories probably go way, way back to me playing my dad’s drums in the basement and being probably like five. It was just super fun when I was a kid to just play around and pretend to know how to play the guitar when I was doing super silly stuff like that [laughs]. I started singing in church, and in middle school and high school I started writing songs in a more personal way than I had before. I think those were the days that I really liked started to connect in a more real way.
Was it clear at the time what gave it that personal weight? Were the challenges in learning to be comfortable with it?
I think when I found something that I wanted to start writing about that felt not super trivial to me, I felt a little more validated in doing it. I would just write a lot about my family, specifically my mom, and those things felt a little more important to say, to me at least. I think having something to say was huge for me. I think I’m kind of relearning how to be comfortable with that, and it changes and shifts a lot. But there was definitely some strain in showing it to people. Writing in that way felt super freeing, and I could just kind of let it all out, and then other challenges come along with sharing it – that becomes a whole other thing. It definitely makes me think about how would this could be perceived by someone outside of myself.
Do you remember the first songs you wrote that really meant something to you? They don’t have to be ones that ended up on the album.
I definitely wrote some before that are not on the album that meant a lot to me, but I think the songs the songs on the album, a lot of them were the first songs I wrote that felt super special to me. ‘Bobby’ is one of the first ones there – I just remember writing that and feeling like I kind of had done something new for myself and gotten things across that were new but also pretty necessary. And then the last track, ‘Death Grip’, I think is the oldest song on there. I super remember writing that one in my dorm room, freshman year of college, not really having any idea for a project but wanting to write something that I felt was something that I wanted to write. I see that I maybe approach writing differently now, so it’s funny to think back on that.
What felt new and necessary about it?
I really had emotions that I just needed to get out. I think that’s super common a lot of the time for songs, but it’s also interesting because sometimes it’s way less of an emotional process and it can be the opposite of that. But those songs felt necessary in the way of, I have a feeling that I am trying to express. And I also, for ‘Bobby’, specifically felt really inspired by a lot of new music that I was listening to. When I moved here, I was drawn to certain sounds that I wanted to appeal to and that felt super new to me at the time. A lot of music that friends had shown me, a lot of it folk and country-based; the Jodi project was super huge in my friend group, and the band Friendship is hugely inspiring to me. I felt like I was going in undiscovered territory for myself.
How did moving to Nashville change the way you write?
I think being in that mental territory of moving, especially from the place you’ve been for 18 years, really put me in a new place of noticing so much newness around me, and also feeling a lot of discomfort sometimes. Just those natural feelings of moving, they definitely pushed a lot of inspiration. I think the move helped me a lot in that way to get a better perspective of where I was, looking back on it, and thinking about the differences of where I was and where I am now. A lot of it was landscape here – the landscape is super flat where I’m where I’m from in Texas, it’s just brown and it hardly ever rains, and it’s kind of the opposite here. It’s really hilly and and green, and I think those differences really set something off for me. I was just noticing a lot of things, and I certainly had been craving a change in landscape. It was a breath of fresh air to see some green and have music all around me.
That also takes on a kind of symbolic resonance with the album title, I’m Green, and the track ‘Turn Red’, where it becomes a self-affirmation.
It’s cool because the symbolism changes a lot. I connect green with joy and purity and newness; it has so many connotations with religion as well. When I first wrote the song that I’m Green comes out of, I meant those things, but I definitely see them in a little bit of a different light. It’s always ever-changing, but I think I just really meant, I want to feel good – kind of putting that into the air to make yourself believe it.
You painted the single art for ‘Bobby’ and the rest of the singles. I’m curious what you like about painting that’s different from the satisfaction you get from songwriting, but also how you feel they’re connected.
That’s super sweet to ask. I feel like it’s much faster gratification, maybe, because you’reimmediately seeing something happening. It’s nice to have music as an outlet and then be able to step away from it and do something entirely different, like, use a literal different part of my brain, and the same for painting. Stepping away is huge in terms of noticing how I feel about it and then being able to go back and refine whatever, because it’s so easy to get discouraged for me. But painting is fun. [laughs] It’s mostly fun.
Why did you want to pair ‘Bobby’ with the painting of a photo of your grandparents holding you as a baby?
My grandma’s mom’s name was Bobby, so that’s where I got the name. Not that the song is fully about that person, but I felt the connection there. I want to do more paintings like that, of old photos of family members, because I really liked the way it went, and it felt tied to the familial meaning of ‘Bobby’.
That was the first song you recorded with the album’s producer, Josef Kuhn. How did that collaborative relationship evolve?
It’s such a special thing, the way it all happened. It felt so organic. We did start with ‘Bobby’, and it was just for fun – just a friend relationship of, let’s hang out and see where this goes, and if it’s just fun, that’s a huge victory. So it continued to be fun, and Josef saw that there was a lot of traction happening, so we just kept doing it. I would just keep showing him songs, and he would be extremely positive and excited about them. He put a lot of his heart into them, and it was awesome to see both of us having fun with it. He would do super cool percussive things that were super inspiring to me, because I love that stuff so much, but I can’t fully get it across as easily. I think it felt like a different direction for both of us. A lot of it did not feel like work at all,and I think that’s kind of what I seek out now.
You’ve talked about these songs as being about your relationship with yourself, but I’m also wondering how they allowed you to explore your relationship with your voice in a more literal sense. Did you get more comfortable or curious about it in new ways?
I think more in the pre-production phase. I made a couple of demos for some of the songs, like ‘Medicine’, and I remember being super stoked about the demo, starting really early in the morning and wanting to add screams at the end. I think that was totally discovering something new for my voice, and something I knew I really wanted to do. Also playing them live before we recorded them, those moments were a lot of discovery for my voice and my guitar playing. I felt a lot of new things happening. It’s super funny to think about it that way, but it’s very true, I was definitely learning a lot about the way I sound and the way I want to sound.
Were the longer, more explosive songs the ones that felt most cathartic to you?
In a lot of ways, yes. ‘ Medicine’ was super cathartic to let out and have those big, maybe relieving moments. Even to play, it can be extremely fun and satisfying, and a lot of the times it can also be on the other end where it’s like, This is a really long song of crazy emotions that I have to immerse myself into now. So some of the songs that are lighter in emotional content are also relieving in that way of balancing it out.
Is that something you want to have more control of, being able to manage the emotion once the song is done?
I would love to have better control over that [laughs]. And I think I am getting way better at it, where I can just kind of step out of it if I need to. I think a huge goal for me is to have more songs that, rather than just being super heavy and gratifying, are gratifying in a more light way. I would love to get better at being able to manage that. I think it gets easier over time. But also, there’s definitely something to say about playing the song and giving those emotions their time to be felt out.
Going back to ‘Turn Red’, the line “I don’t feel old enough/ But I feel older” is striking in the specific context of the song, but it also captures something universal about growing up. Did it feel like it had a wider resonance at the time that wasn’t just attached to that moment?
Yeah, that line definitely continues to hold true, and I think it grows in its meaning for me a lot of the time. It’s funny because it does sometimes feel very vague or broad, but I definitely still feel it in, like, everything [laughs]. To go back to the question of what is meant by I’m Green, I think that’s a huge part it. If there were a line to be under the title to help explain it, I think it would be it.
How does it hold true for you now?
It’s just that I have so much to learn. I have so much to learn, and I can see it in front of me. That can be really daunting for me – there’s so much to learn, how am I ever gonna get there? But also acknowledging I’ve grown a lot, I’ve learned some things. Maybe part of me expected, like, once you get here, you’ll feel like you learned it all, but it’s so untrue. Maybe that is the most recent funny realization – that one probably doesn’t ever fade, and that’s a good thing.
This interview has been edited and condensed for clarity and length.
Emma Anderson, the co-founder of Lush, has shared ‘The Presence’, the third single from her debut solo album Pearlies – out this Friday, October 20 via Sonic Cathedral. It follows previous offerings ‘Bend the Round’ and ‘Clusters’. Check out a video for it below.
“This is going to sound quite mad but it took me about nine years to write this one,” Anderson said of ‘The Presence’ in a statement. “I had the chords in different configurations with various melodies over the top for ages but nothing quite clicked or flowed. I was determined not to give up on it as I knew the kernel of the song was good.” She added, “The programmed drums on the last section… I said to James [Chapman], ‘Can you do something like on ‘Spellbound’ by Siouxsie and The Banshees?’ and it took him about 20 seconds to do exactly that.”
Speaking about the theme of anxiety that the song deals with, Anderson explained: “It’s something that rears its ugly head with me from time to time. And the lyrics are all about that and also the techniques that I have learned to use in order to overcome it.”
The game of poker, with its blend of strategy, psychology, and chance, has captivated millions worldwide. Whether playing casually with friends or seeking to compete at higher levels, honing one’s poker skills is crucial.
Understanding Player Types
One of the foundational aspects of poker is understanding the type of players at the table. Classifying each player by their playing style can provide valuable insights into their strategies and tendencies.
For instance, some players might be aggressive, while others might adopt a more conservative approach. Recognizing these patterns can offer a strategic advantage.
Engage in Online Games
Engaging in online games can be an invaluable resource for those looking to practice and refine their skills. Online platforms offer various opponents, from beginners to seasoned professionals, allowing players to gain experience against various playing styles.
Observation is Key
It’s not just about the cards in one’s hand; it’s also about the cards on the table. In games like Texas Hold’em, it’s essential to determine the best possible hand that could be formed from the community cards. This involves being vigilant about potential straight or flush possibilities.
Moreover, observing other players can provide crucial information even when not actively participating in a hand. Noting patterns, such as a particular player’s tendency to bluff or another’s habit of playing only strong hands, can be instrumental in future decisions.
Avoid Overplaying
A common pitfall for beginners is the desire to be involved in every hand. However, playing more hands doesn’t necessarily equate to winning more.
It often leads to more losses. It’s essential to be selective about the hands one chooses to play. If a player participates in most hands, it might be time to reassess their starting hand requirements.
The Art of Bluffing
Bluffing is an integral part of poker, but it’s not just about deceiving for deception’s sake. Effective bluffing requires a keen understanding of the situation and the players involved. For instance, attempting to bluff a player known to call until the showdown is futile. Instead of bluffing indiscriminately, players should use it as a calculated strategy backed by a solid understanding of the game’s nuances.
Manage Your Emotions
Poker is as much a game of emotions as it is of strategy. Playing when upset, angry, or in a bad mood can cloud judgment and lead to poor decisions.
It’s essential to approach the game with a clear mind and a calm demeanor. If a player feels themselves tilting — playing recklessly due to emotions — it’s advisable to take a break and return with a refreshed perspective.
Guard Your Position
In poker, the position is power. Being the last to act in a betting round provides a strategic advantage, as one can see how all other players act before making a decision.
Defending the big blind, for instance, offers better pot odds due to the existing investment in the pot. Recognizing and using positional advantages can significantly influence the game’s outcome.
Know Your Limits
While ambition is commendable, it’s essential to recognize one’s limits. Jumping into high-stakes games without adequate experience or a sufficient bankroll can be a recipe for disaster.
Players should choose games that match their skill level and financial capacity. This not only ensures sustainable play but also provides a conducive environment for learning and growth.
Continuous Learning
The world of poker is dynamic, with strategies and approaches evolving continually. To stay ahead of the curve, players should be open to learning, whether from personal experiences, observing others, or studying resources available online and in literature. Embracing a growth mindset can significantly enhance one’s prowess at the table.
Conclusion
Improving poker skills is a continuous journey marked by learning, practice, and adaptation. By understanding player types, observing diligently, managing emotions, and continuously updating their knowledge, players can significantly enhance their performance at the poker table. Whether one’s goal is casual enjoyment or competitive success, these tips can pave the way for a richer poker experience.
Throughout the week, we update our Best New Songs playlist with the new releases that caught our attention the most, be it a single leading up to the release of an album or a newly unveiled deep cut. And each Monday, we round up the best new songs released over the past week (the eligibility period begins on Monday and ends Sunday night) in this best new music segment.
This week’s list includes ‘Spend the Grace’, the towering, chaotic lead single from Full of Hell and Nothing’s collaborative album; ‘Voyager’, a devastatingly beautiful highlight from boygenius’ the rest EP; ’Madi Diaz’s ‘Same Risk’, the piercingly vulnerable song that leads her next album Weird Faith; Marika Hackman’s moving, dynamic new single ‘Hanging’; Sen Morimoto’s latest single, the dreamy, exploratory ‘Deeper’; ‘glass beach’s shapeshifting new track, ’the CIA’; Fenne Lily’s tenderly reflective Big Picture bonus cut ‘Hollywood and Fear’; and Hotline TNT’s restlessly vibrant ‘Out of Town’.
The world of horology is vast, with timepieces ranging from the seemingly simple to the intricately elaborate. Among these fierce watch companies, NOMOS Glashütte delivers another beautiful, intricate timepiece — Autobahn Neomatik 41 Date. Let’s take a closer look at this wonderful watch.
Design
At first glance, the Autobahn Neomatik 41 strikes as a minimalistic timepiece, but with a clearer lens we can see a striking flurry of detail. It’s certainly not dull. It comes in three variations: sports grey, midnight blue, and white. The Autobahn captivates with its exuding classic charm. However, a closer look reveals the dashing curves of its dial, reminiscent of the open roads and the spirit of adventure. The elongated date window, spanning three days, adds a touch of modernity reminiscent of three road lanes. But what truly sets it apart is the ring of superluminova that follows the hour typography, glowing in the dark and ensuring that time is always visible, no matter the hour, day or night.
Housed in a stainless steel, bipartite case with a domed sapphire crystal glass back, this watch is a marvel of craftsmanship. The domed sapphire crystal glass with anti-reflective coating ensures clarity under all lighting conditions and toughness. With a lug-to-lug of 49.6mm, the piece stays prominent on the wrist. Water-resistant up to 10 atm, it doesn’t just sit pretty on the wrist but stays durable for casual swimming after a long day’s work.
Movement
The heart of the Autobahn Neomatik 41 Date is the DUW 6101 caliber. This automatic movement, with a power reserve of up to 42 hours, is a testament to NOMOS Glashütte’s commitment to precision and reliability. Here are some facts about the movement.
Caliber
DUW 6101
automatic
Movement Height
3.6mm
Diameter
15 ½ lines (35.2 mm)
Power Reserve
up to 42 Hours
Jewels
27
Conclusion
The Autobahn Neomatik 41 Date is a testament to NOMOS Glashütte’s commitment to excellence. It pays homage to an iconic highway system known for its ingenuity by delivering on its innovation. Whether you’re a seasoned horologist or someone looking for their first luxury watch, the Autobahn Neomatik 41 Date is a watch that deserves consideration. Priced at £4,000, it certainly deserves praise for what it delivers.
Ice Spice made her debut as the musical guest debut on Saturday Night Live last night (October 14). She performed ‘In Ha Mood’ and, following a surprise introduction from Taylor Swift, the recent single ‘Pretty Girl’ alongside Rema. Watch it happen below.
Prior to Swift’s appearance during the SNL season premiere, Travis Kelce also made cameo in a sketch that poked fun at the NFL’s excessive coverage of the singer attending the Kansas City Chief games.
Earlier this year, Swift and Ice Spice teamed up on a remix of ‘Karma’, which appears on the deluxe edition of Midnights.
