Search
SUBSCRIBE
Home Blog Page 82

Bringing History to Life Through an AI Video Generator in CapCut Desktop Video Editor

Sebastian Bickley
-
0
Bringing History to Life Through an AI Video Generator in CapCut Desktop Video Editor

History is often hard to make exciting for students when teaching them. Learning is more concrete and comprehensible if videos are used because they show things and locations rather than explain them.

Historical material can be converted by teachers and students into short and understandable but exciting videos with the help of an AI video maker.

It aids the students in visualizing life in the past, from old cities to previous events. Creating such videos is easy with CapCut Desktop Video Editor. You can add text, voice, and graphics all in one software to make history come alive.

AI Video Generator for Historical Videos

An AI video generator is a tool that transforms text, images, or ideas into engaging videos. For class history, it is able to create scenes of what occurred in the past, show influential people, or recreate historical sites.

It does this for enabling students to understand history in a real sense and through visualization. AI-created videos can symbolize wars, discoveries, or ancient civilizations, making topics that seem abstract more engaging.

With CapCut Desktop Video Edito, you can merge AI images with text, voice, and other effects in a single tool. That way, you are in a position to narrate as you display the pictures of what they appeared like, and the video becomes easy and simple to understand.

You can also add other graphics through CapCut’s photo editor to enhance visuals from the past before including them in the video. This makes the scenes appear realistic and professional.

The software is time-saving since you are not obliged to paint or record every detail. You can easily create several videos on several subjects. Be aware that CapCut Desktop Video Editor isn’t entirely free. Some of its advanced AI capabilities, such as premium images or enhanced rendering, will cost you money.

With these materials, the past is made alive, and students can observe, listen, and learn about events as never before.

Why Teachers Should Use an AI Video Generator in History Class

Most history videos fail due to being boring or text-heavy. The students end up bored and forgetting the lesson. AI-created videos serve as a solution to this by breaking up lessons into interesting chunks simple to learn. They display the events of history, timelines, and living in the past, which provide context for learners.

These videos also enable students to know how individuals were attired, what structures they constructed, and in what manner they resided.

A teacher can quite easily make several videos within a single session of sitting using CapCut without constructing animations entirely from scratch. This takes time but does so without compromising clear and interesting lessons.

CapCut Desktop Video Editor provides AI features that simplify the task. You can include narration, text, and expert effects on it to enhance its interactive value for learning.

Teachers can easily convert written historical material into engaging video scenes at the touch of their fingers with CapCut’s AI video generator, without editing work taking hours.

By these characteristics, historical lessons are more convenient and enjoyable to learn. The students remain attentive while learning from historical events. Posting of videos in other formats is also supported by CapCut PC, and thus, they can be put on school sites or social media. CapCut also has an online video editor which you can try for free!

Steps to Make Historical Videos in CapCut Desktop Video Editor

Step 1: Download and Install CapCut Desktop Video Editor

Begin by downloading the CapCut Desktop Video Editor only from the official CapCut website. Once downloaded, execute the installer and follow the prompts on-screen.

Sign-up could be necessary in order to make full use of all the features. Note that some of the pro features and advanced AI elements can be accessed only on a paid plan. You can then install and open CapCut PC, where you can begin making historical videos at any time on your computer.

Step 2: Create Prompt & Add Historical Context

Open the AI Video Maker and enter a clear prompt or paste a prepared script. Add details such as the event, time period, tone, and target audience. You can also ask the AI to include stock images or animations for realistic historical scenes. The more precise your input, the better the draft.

Step 3: Generate & Personalize the Lesson Video

Click Create and let the AI process your input. Within minutes, a draft video is produced with scenes, captions, and background music.

Review it, then personalize by adding narration, text overlays, or subtitles for clarity. You can also adjust colors, transitions, and effects to keep learners engaged while staying true to the lesson’s tone.

Step 4: Export & Share

When your video is ready, click Export. Choose the resolution, frame rate, and format that work best for your classroom. Share the exported video through school apps, social platforms, or learning portals. Your history lesson is now transformed into a dynamic, visual experience.

Conclusion

The AI video generator in CapCut Desktop Video Editor makes history lessons come alive and engross students. Teachers can make exciting images, introduce narration, text, and subtitles, and even make changes to scenes in minutes.

The software is handy, but it turns learning simple to understand and fun. Note that CapCut Desktop Video Editor is not fully free, and one has to pay for the advanced features of AI.

Use CapCut PC on your next history project and make visual lessons of assignments that students will never forget. Begin creating today and recreate the events of history in a simple, entertaining, and visual manner.

Album Review: Joan Shelley, ‘Real Warmth’

Konstantinos Pappis
-
0
Album Review: Joan Shelley, ‘Real Warmth’

Joan Shelley has been making albums for a decade and a half, yet she always makes each one feel like a new, easy embrace. “I want the anthem that feels like first love/ I want the chorus that warms like fire/ I want the tune that swells like a full moon/ Knows your deepest desire,” she sings about halfway through her easygoing, endlessly hummable 10th LP, Real Warmth, which was recorded in Toronto with producer Ben Whiteley and features contributions from her partner, Nathan Salsburg, as well as The Weather Station’s Tamara Lindeman and a tight-knit community of Toronto-based musicians, including Philippe Melanson, Karen Ng, Doug Paisley, Tamara Lindeman, Matt Kelley, and Ken Whiteley. Singing with quietly blazing conviction, Shelley often writes through a fantastical lens, but the language they gather in is musical, conversational, nature-loving and totally human. She enlisted another great modern songwriter, Ryan Davis, to write the bio, and he notes “a certain richness to the soil of the songcraft – and you can almost feel the soil of these songs in a paraphysical way while listening – as the album moves along, eventually ending only to, of course, start again, and again.” And every time feels a little warmer, a little more like the first.

1. Here in the High and Low

Real Warmth begins with a pulse check, a deep, rumbling synth letting each musician make their tentative entrance. Shelley reads the room and really gives weight to every word that rhymes: the drum, feet, mountain, sea. It’s a gentle unburdening that makes space for the meditations that follow: “All that came before has to go.”

2. On the Gold and Silver

Karen Ng’s saxophone lifts like morning dew as Shelley’s voice glides over it, before she and Ben Whiteley thread in acoustic guitars. Tamara Lindeman makes her first appearance on the album as a backing vocalist, and though there are similarities in their lyrical interests, Shelley’s poetry withdraws in the midst of the same beauty that the Weather Station tends to expand. “In the roses hide again/ Find perfection’s damaging/ The sensual resides within/ Rest here you’ll find the answer,” she sings. While they don’t communicate the waiting by stretching the song, it shines through.

3. Field Guide to Wild Life

Shelley begins by playfully relaying the simple pleasures of parenthood – “She’s easy/ To catch when hungry” – before being totally awe-struck by her child’s emotional range. “A raging ocean/ A meteor shower/ Blinded by the fire in her,” she sings. Nathan Salsburg joins in with a catchy guitar riff any kid could sing along to, anything to get them all spinning.

4. Wooden Boat

Building off of the previous track, the song conveys the voyage of that “one boat for the whole family.” Evoking the natural elements dancing in view, the interplay between Matt Kelley’s pedal steel and Karen Ng’s woodwinds is particularly lovely.

5. For When You Can’t Sleep

Her voice hushed and reassuring, Shelley offers a remedy for late-night numbness, continuing the nautical metaphor: “Here’s an easy love/ You be the diver/ I’ll be the canopy/ The white sail/ The saving knot/ The clearing among the rocks.” What sounds like harmony vocals is just Shelley’s own, rising like comforting breath in a shared bed.

6. Everybody

On the surface, ‘Everybody’ is as becalming as the rest of the album, ending with another invitation to commune. But it finds Shelley switching positions somewhat, revealing her own vulnerability (“I’ve been waiting for a sound to take me out of my meanness”) before adhering back to the role of protector: “There’s no armor you can wear to guard the soft, open body/ There’s no serum they can sell/ To soothe the rugburn of time/ But god, if I could guard you/ Take your fire, then burn me now/ Is it allowed?” She can’t do it alone, she realizes. But if she has to sacrifice some amount of freedom for the sound to reverberate, it’s worth the price.

7. New Anthem

Perhaps it’s more than a sound; perhaps it’s a whole anthem. ‘New Anthem’ is an ode to the creative partnership that breathes life into Shelley’s songwriting; it’s Doug Paisley providing harmonies, but Salsburg is right there, swaying nimbly on guitar. “I am the rhythm that carries/ You have the hands/ The touch and the tone/ My false rhyming/ My crooked timing/ You gave it all a home.” At times, Salsburg’s contributions are so subtle you have to lean in to appreciate them. In Shelley’s ears, they couldn’t be bigger.

8. Heaven Knows

Extending the gratitude of ‘New Anthem’, ‘Heaven Knows’ is a full-on duet, and a wonderful one at that. Certain qualities recur – the silent grief, the silver dance – but shine here in their mutuality. As they sing of the world expanding and exploding, no more than supple bass and mellotron are needed to demonstrate the impact. Shelley’s words are weighty, but the song’s steady resolvee says a lot more.

9. Ever Entwine

Like ‘Wooden Boat’, the song is most enchanting for its rumbling rhythm; though it adds little thematically to the album, the fluidly intertwining guitars create a rich environment.

10. Give It Up, It’s Too Much

The song begins as a heartbreaking plea before unwinding at the hurrying sound of Philippe Melanson’s drums. “Can’t you see that you’re wide open?” she sings towards the end, giving way to unaccompanied birdsong. It’s a curious song made urgent through Shelley’s little animal kingdom.

11. The Orchard

Shelley puts her figurative language to its most political use on ‘The Orchard’, a patient, despairing tune whose longer runtime makes space for a hopeful ending. “They say the stars will pull apart/ And gravity will lose/ Into this storm I launch my love,” she declares, adding, “It cannot be that entropy should claim us for the gloom.” It’s perhaps the only song where the words are so potent they overshadow the arrangement, and for good reason.

12. Who Do You Want Checking in on You

“This one will be in a minor key,” Shelley sings at the outset, preparing for the only song that seems to veer out of gentleness. Rather than hearing of simmering anger, you hear it; the sensitivity of Lindeman’s piano is matched by Melanson’s drums, which is really transformed here as more than a rhythm instrument.

13. The Hum

It’s strange just how close the word hum hews to home; in Shelley’s voice, it sounds like a sharper, softer compression. Real Warmth may lack truly anthemic choruses, but it’s got no shortage of hummable tunes. As the shortest, simplest song on the album, the power of its closer is in everything it doesn’t say; the losses it doesn’t name, the passage of time. Those things are inevitable, but if the song endures, Shelley suggests, maybe also irrelevant. So keep it going.

6 Albums Out Today to Listen To: Wednesday, Joan Shelley, Total Wife, and More

Konstantinos Pappis
-
0
6 Albums Out Today to Listen To: Wednesday, Joan Shelley, Total Wife, and More

In this segment, we showcase the most notable albums out each week. Here are the albums out on September 19, 2025:

Wednesday, Bleeds

Wednesday - BleedsWith a couple of stylistic diversions, Wednesday‘s new album no doubt feeds off the gnarly, blazing energy of its masterful predecessor, Rat Saw God, collaging another tangle of funny, tragic, beautiful stories. But reaching what sounds like a breaking point on the ferocious highlight ‘Wasp’ leads vocalist Karly Hartzman to be just as unsparing on the album’s more intimate moments. The band is about to embark on another tour, but Bleeds sounds like the equivalent of pulling over to let out a good scream. Read the full review.

Listen on
Apple IconApple
Spotify IconSpotify
Bandcamp IconBandcamp
Physical IconPhysical

Joan Shelley, Real Warmth

Real WarmthIn press materials, Joan Shelley offers three definitions of her new album’s title: “the warmth of actual bodies,” “a kind of spiritual warmth,” and “the real warmth of the planet.” What makes Real Warmth, produced by Ben Whiteley, so enchanting is just how permeable the boundaries between them are in Shelley’s songwriting. “The songs on this album are a stab at some kind of cocktail for resilience, a recipe for desperate times,” Shelley added. “This from a mother, but also just a person inclined to feel for the faint pulse and strengthen it, to contribute something beautiful in the face of a hostile world.” Read the full review.

Listen on
Apple IconApple
Spotify IconSpotify
Bandcamp IconBandcamp
Physical IconPhysical

Total Wife, Come Back Down

Total Wife, Come Back DownTotal Wife, the experimental duo of Luna Kupper and Ash Richter, have come through with a dynamic, mind-melting new album, Come Back Down, via the great Philadelphia label Julia’s War. According to press materials, the follow-up to 2023’s in/out was born from the edge of sleep, with Luna Kupper turning over the songs during late-night mixing sessions between dream and lucidity. “I’m a psychological mixer — I’m trying to think of how someone’s experiencing the sound, versus getting stuck in trying to make all these different tones and using all this gear to make something sound a certain way,” Kupper explained.

Listen on
Apple IconApple
Spotify IconSpotify
Bandcamp IconBandcamp
Physical IconPhysical

Cardi B, Am I the Drama?

Am I the DramaMore than seven years after her debut album Invasion of Privacy, Cardi B is back. “Since then, I’ve experienced a lot,” the Bronx rapper told Billboard. “The good and bad of fame, the hate, jealousy, drama, balancing my career with my personal life and growing up and maturing. I’ve learned to control my emotions and understand how life works and how to play chess better.” Am I the Drama? includes the promotional singles ‘WAP’, ‘Up’, ‘Outside” and ‘, and ‘Imaginary Playerz’, as well as guest spots from  Summer Walker, Selena Gomez, Kehlani, Lizzo, Cash Cobain, Lourdiz, Janet Jackson, and Tyla.

Listen on
Apple IconApple
Spotify IconSpotify
Physical IconPhysical

Nation of Language, Dance Called Memory

Dance Called Memory album coverNation of Language have followed up 2023’s Strange Disciple with a new album called Dance Called Memory. Reuniting with producer Nick Millhiser, the band expanded the edges of their sound to evoke the nuances of this dance, which is entwined with beauty as much as melancholy. “There is a dichotomy between the Kraftwerk school of thought and the Brian Eno school of thought, each of which I’ve been drawn to at different points,” frontman Ian Richard Devaney said. “I’ve read about how Kraftwerk wanted to remove all of the humanity from their music, but Eno often spoke about wanting to make synthesized music that felt distinctly human. As much as Kraftwerk is a sonically foundational influence, with this record I leaned much more towards the Eno school of thought. In this era quickly being defined by the rise of AI supplanting human creators I’m focusing more on the human condition, and I need the underlying music to support that… Instead of hopelessness, I want to leave the listener with a feeling of us really seeing one another, that our individual struggles can actually unite us in empathy.”

Listen on
Apple IconApple
Spotify IconSpotify
Bandcamp IconBandcamp
Physical IconPhysical

Kieran Hebden and William Tyler, 41 Longfield Street Late ‘80s

Kieran Hebden + William Tyler debut album artworkFour Tet’s Kieran Hebden and Nashville guitarist William Tyler draw from their mutual love of ’80s country music on their new collaborative album, 41 Longfield Street Late ‘80s. It’s a delight to hear their interplay blurring the line between electronic textures and guitar, rendering it the perfect late-night listen. “I think we both in our own specific ways want to recontextualize a lot of music that we grew up with, regardless of the genre, and I think that’s what this album reflects,” Tyler commented. “It’s a lot of nostalgia, but it’s also very forward focused. I don’t even know what genre I’m supposed to be in at this point, but I trust Kieran, and I love what we’ve done together. He’s become a dear friend, and I can’t wait to see what’s ahead for us.”

Listen on
Apple IconApple
Spotify IconSpotify
Bandcamp IconBandcamp
Physical IconPhysical

Other albums out today:

Nine Inch Nails, TRON: Ares (Original Motion Picture Soundtrack); Wicca Phase Springs Eternal, Mossy Oak Shadow; Patrick Shiroishi, Forgetting Is Violent; Lola Young, I’m Only Fucking Myself; NewDad, Altar; Lawn, God Made The Highway; múm, History of Silence; Frog, The Count; Jordan Patterson, The Hermit; Biffy Clyro, Futique; Bones Owens, Best Western; Atmosphere, Jestures; Golden Apples, Shooting Star; Winter McQuinn, Where Are We Now?; Motion City Soundtrack, The Same Old Wasted Wonderful World; Golden Sun Trio, Lifecycles, Ritual, Myth; Eades, Final Sirens Call; Yasmine Hamdan, I Remember I Forget بنسى وبتذكر

Miley Cyrus Releases New Songs With Lindsey Buckingham and David Byrne

Konstantinos Pappis
-
0
Miley Cyrus Releases New Songs With Lindsey Buckingham and David Byrne

Miley Cyrus has released the deluxe edition of her latest album Something Beautiful, expanding it with two new songs: the 13-minute David Byrne collaboration ‘Lockdown’ and ‘Secrets’ featuring Fleetwood Mac’s Lindsey Buckingham and Mick Fleetwood. ‘Secrets’ also comes with a music video directed by Cyrus, Jacob Bixenman, and Brendan Walter. Take a listen below.

Something Beautiful came out in June. The follow-up to 2023’s Endless Summer Vacation included contributions from Alabama Shakes’ Brittany Howard, Naomi Campbell, Model/Actriz’s Cole Haden, Alvvays’ Molly Rankin and Alec O’Hanley, and the War on Drugs’ Adam Granduciel.

The Sims 4 Rolls Out New Base Game Update

Prince Addams
-
0
The Sims 4 Rolls Out New Base Game Update

The Sims 4 has officially released a new update for its base game. This patch prepares players ahead of the Adventure Awaits expansion pack. In particular, it adds fresh content, gameplay improvements, and lots of bug fixes, similar to how players appreciate streamlined updates in areas like paysafecard casinos not on GamStop. All of these changes set the stage for the upcoming expansion pack.

At the same time, Electronic Arts (EA) dropped the patch early to give mod and custom content creators enough time to adjust. It ensures that all players are ready before Adventure Awaits arrives.

“It also gives us time to address any issues quickly,” The Sims 4 Team said in an announcement.  

In this sense, it is a win-win situation. Fans enjoy new features while the developers monitor unexpected issues that may arise.

New Playground Venue

According to EA, one key highlight in the latest update is the Playground Venue. Particularly, it is a dedicated lot type designed for child Simmers. Compared to traditional parks, this one is a safe space for kids. Young Simmers can do everything they want here. They can play, socialize, and make new friends after school. The developers also added parents and guardians watching over the children. This subtle detail makes the game look and feel more realistic.

Play Pretend Interaction

The Sims 4 Team also included a Play Pretend feature in the base game. Now, child Simmers have a new way to put their imagination to work. It is available as both a social interaction and a self-interaction feature. Likewise, the role-playing options include the following:

  • Play Fairy Tale Castle
  • Play House
  • Play Island Castaway
  • Play Pirate Adventure
  • Play Space Runner

Each choice comes with themed visual effects to make the moments more magical. The Play Pretend feature enhances the childhood gameplay in the game. At the same time, it ties in with the themes of the expansion pack.

Quality-of-Life Upgrades

Among many things, the update adds a Venue Type filter. Players can check boxes to find specific venue types. More importantly, it quickly narrows down a long list of options. This makes event planning much easier for Simmers.

In Create a Sim, EA is introducing another ecru color variant for the Slouch Beanie. It adds variety to outfits across Simmers of all ages.

Essential Bug Fixes

To make the games nearly flawless, the developers added many fixes. Some of these make Sims continue writing a book after socializing. Others allow entrepreneurial Sims to no longer jump out of nowhere. And Sims can also drink standing up now. There are dozens more bug fixes. For full patch notes, visit the official EA news website.

The Sims 4 base game update is out now.

How to Take the Perfect Photos for eBay

Our Culture Mag & Partners
-
0
How to Take the Perfect Photos for eBay

Selling on eBay? Your photos can make or break a sale. Think about it. When you’re scrolling through listings, what makes you stop and click? It’s the photos, right? Great product photos build trust and show buyers exactly what they’re getting. Let’s dive into how you can capture images that convert browsers into buyers.

Start with Good Lighting (It’s Everything!)

Natural light is your best friend when photographing items for eBay. Find a spot near a window where soft, indirect sunlight streams in. Harsh direct sunlight creates unwanted shadows, so aim for cloudy days or use a sheer curtain to diffuse the light. If you’re shooting at night, position two lamps on either side of your item to minimize shadows. Some sellers invest in a lightbox, which you can find for under $30 on Amazon, but a white poster board curved against a wall works just as well. Once you’ve got your photos, you can use a free AI background remover to clean up any distracting elements and make your product really pop against a crisp white background.

Show Every Angle

Buyers want to see what they’re purchasing from all sides. Take at least six photos of each item. Start with a straight-on shot of the front. Then capture the back, both sides, top, and bottom. Got a flaw or scratch? Photograph it. Being upfront about condition builds trust and prevents returns.

For clothing, lay items flat or use a mannequin. Show tags, care labels, and any unique details like buttons or zippers. Shoes need interior shots too. Electronics should show all ports and connections.

Keep Your Background Simple

A cluttered background distracts from what you’re selling. Use a plain white or neutral colored backdrop. You can buy seamless paper rolls, but a clean bedsheet works fine. Avoid busy patterns or personal items in the frame.

Some categories benefit from lifestyle shots. A vintage vase might look great on a simple wooden table. Just keep it minimal. The product should always be the star.

Master Your Camera Settings

You don’t need expensive equipment. Most smartphones take excellent photos these days. Here’s the trick: tap to focus on your item before shooting. This ensures sharp, clear images.

Turn off the flash. It creates harsh shadows and washes out colors. If your phone has a portrait mode, try it for smaller items. It blurs the background slightly, making your product stand out.

Hold your phone steady or use a tripod. Blurry photos scream “amateur” and hurt your credibility. Take multiple shots of each angle. You can always delete extras later.

Size and Scale Matter

Help buyers understand the actual size of your item. Include a common object for reference. A coin works for jewelry. A ruler helps with collectibles. For clothing, mention measurements in your listing and show a measuring tape in one photo.

This simple step reduces questions and returns. Buyers appreciate knowing exactly what size they’re getting.

Edit Like a Pro (Without Going Overboard)

Basic editing can transform good photos into great ones. Adjust the brightness if needed, but keep the colors accurate. Buyers get frustrated when items look different in person.

Crop out unnecessary space around your item. eBay’s square format works best when products fill most of the frame. Straighten tilted photos. These small tweaks look professional.

Avoid heavy filters or effects. You want realistic photos that represent your item honestly.

Follow eBay’s Photo Requirements

eBay allows up to 12 photos per listing. Use them all! It’s free, and more photos mean more buyer confidence. Photos should be at least 1600 pixels on the longest side for eBay’s zoom feature.

Save images as JPEG files. They load faster than other formats. Name your files descriptively. Instead of “IMG_1234,” try “vintage-levis-501-front.” This helps with organization.

Quick Tips for Specific Categories

Different items need different approaches. Jewelry looks best on a black velvet background. It makes metals and gems pop. Books need clear spine shots showing titles. Vintage items benefit from close-ups showing maker’s marks or labels.

If you have fragile items, show your packaging method in the last photo. This reassures buyers about safe shipping. 

Taking great eBay photos isn’t complicated. Good lighting, multiple angles, and clean backgrounds go a long way. Your photos are often the only thing standing between a browser and a buyer. Invest a little extra time in photography. Your sales numbers will thank you.

You’re not just selling a product. You’re selling confidence. Clear, honest photos show buyers you’re a seller they can trust. And that’s what keeps them coming back for more.

10 New Songs Out Today to Listen To: Samia, keiyaA, and More

Konstantinos Pappis
-
0
10 New Songs Out Today to Listen To: Samia, keiyaA, and More

There’s so much music coming out all the time that it’s hard to keep track. On those days when the influx of new tracks is particularly overwhelming, we sift through the noise to bring you a curated list of the most interesting new releases (the best of which will be added to our Best New Songs playlist). Below, check out our track roundup for Thursday, September 18, 2025.

Samia – ‘Cinder Block’

Samia has shared a new track, ‘Cinder Block’, which builds off the world of her latest album Bloodless but remains relatively spare. “This one’s sort of an extension of Bloodless — took most of it from poems and wanted it to feel like treading water,” Samia explained. “Was listening to a lot of Leonard Cohen and the Theory of Forms reference in ‘Suzanne’ felt pertinent — then it just became a recurring bit in the song to quote him. Jack Sparrow’s compass only points to what the person holding it wants the most.

keiyaA – ‘take it’

Chicago-born, New York–based soul musician keiyaA has announced her sophomore album, Hooke’s Law, arriving October 31 via XL. The hypnotically taunting lead single ‘take it’ comes with a video co-directed by Caity Arthur and keiyaA.  “An album about the journey of self love, from an angle that isn’t all affirmations and capitalistic self-care,” keiyaA explained. “It’s not a linear story with a moral at the end. It’s more of a cycle, a spiral – it’s Hooke’s law. With this work, I aim to interrogate and embrace anger and conflict, disappointment and dissatisfaction, about not being docile and about rejecting mammyism and traditional expectations of fat black brown and dark skinned women in our communities. I speak about desire + longing, about examining maladaptive tendencies, conflict avoidance – the eternal relationship with the self.”

Jenny on Holiday – ‘Every Ounce Of Me’

Jenny Hollingworth of Let’s Eat Grandma has introduced a new project, Jenny on Holiday, with the soaring, vibrant track ‘Every Ounce Of Me’. She wrote it during the stillness of Norwich summers before completing it in London with producer Steph Marziano. “‘Every Ounce of Me’ was inspired by singing dramatic, fun, 80s love songs at karaoke with my friends,” Hollingworth explained. “I wanted to write something of my own I could imagine in that setting. It’s a song about not being able to help falling for someone despite your reservations about love and trying your hardest not to.”

Spiritual Cramp – ‘Automatic’

Spiritual Cramp have dropped a bouncy, swaggering new single called ‘Automatic’, which is set to appear on their sophomore album RUDE. Following previous ‘Young Offenders’ and ‘At My Funeral’, it’s more reminiscent of the Killers than anything off their first LP.

The Black Rabbits (Albert Hammond, Jr. and Jude Law) – ‘Turned To Black’ and ‘Outside People’

In the new Netflix series Black Rabbits, Jude Law plays a character who used to front a band called the Black Rabbits. The band’s songs appear in the show in flashback scenes, and Law actually recorded them with the Strokes’ Albert Hammond, Jr. ‘Turned To Black’ and ‘Outside People’ both sound pretty in line with Hammond’s own work and in the Strokes.

Anna von Hausswolff – ‘Facing Atlas’

Anna von Hausswolff has shared a shimmering, cosmically resonant new song called ‘Facing Atlas’, taken from her upcoming full-length ICONOCLASTS. “’Facing Atlas’ is about the risks of commitment; to be bound to something until you no longer feel control over yourself and your direction in life,” the Swedish musician and composer explained. “A destiny can feel like a prison if it’s not chosen by heart’s desire.”

Snooper – ‘Pom Pom’

Snooper have already dropped plenty of tracks from their upcoming album Worldwide. Today, we get another playful, hooky assault called ‘Pom Pom’, which brings to mind the Norwegian band Pom Poko in more than just its title. “‘Pom Pom’ is about being your own cheerleader, a topic that is explored throughout the whole record,” vocalist Blair Tramel said in a statement. “It’s about having to sit on the sidelines sometimes, supporting others, taking hits, and bouncing back. After cheering for other people for long enough, you reach a point where you learn to cheer for yourself as well. While self confidence is important, you also have to be able to laugh at yourself. Honestly, if you can’t laugh at yourself, you might have some work to do — GO TEAM!!!!”

Sassy 009 – ‘Butterflies’

Sassy 009 has shared ‘Butterflies’, the buzzing, kinetic opener of her debut album Dreamer+, which has been set for release on January 16 via HEAVEN-SENT / [PIAS]. The track is accompanied by a music video from director Maria Hilde.

BEA1991 – ‘Tummy Bug’

Beatriz de Rijke, the Dutch-British artist who records music as BEA1991, has unveiled an achingly weary song called ‘Tummy Bug’. “Tummy Bug is here for you,” BEA1991 said. “She is a song about women’s reproductive health being dismissed in medical science and society at large, about the heartbreak, physical pain and loneliness this causes worldwide, and about how in the future, it must and will be different.”

Clairo Signs to Atlantic Records

Konstantinos Pappis
-
0
Clairo Signs to Atlantic Records

Clairo has announced her signing with Warner Music Group (WMG) subsidiary Atlantic Records. “I’m so thrilled to begin this next chapter of my musical journey with Atlantic,” Claire Cotrill said in a statement. “From our first meeting, they immediately understood my vision, and it feels good to know I can continue to be as expressive and free with my ideas with a great new partner by my side.”

Elliot Grainge, the chairman and chief executive of Atlantic Music Group, added: “Clairo represents the rare kind of artist who reshapes the music landscape simply by being true to herself. She’s not just one of the most important songwriters of her era, she’s an artist whose work and aesthetic is truly unique. As a leading voice in music today, we are honored that she has chosen the Atlantic family to be part of her next chapter.”

Clairo has released her three albums through different label configurations, but she’s never technically been on a major label. She started her career with Fader Label, which is under the Universal Music Group (UMG) umbrella. Her second album, Sling, was co-released with another UMG label, Republic Records. Last year’s Charm came out through Clairo Records, but it only brought her more visibility – including a placement on the “performative male” Wikipedia page (God help us) – so the signing isn’t exactly surprising.

 

View this post on Instagram

 

A post shared by Atlantic Records (@atlanticrecords)

Let’s Eat Grandma’s Jenny on Holiday Shares Debut Solo Single ‘Every Ounce of Me’

Konstantinos Pappis
-
0
Let’s Eat Grandma’s Jenny on Holiday Shares Debut Solo Single ‘Every Ounce of Me’

Jenny Hollingworth, one half of the alt-pop duo Let’s Eat Grandma, has launched a new solo project called Jenny on Holiday. The soaring ‘Every Ounce of Me’ debuts today alongside a music video from director Justin Chen. Check it out below.

The new track was written in the stillness of Norwich summers and completed in London with producer Steph Marziano. “‘Every Ounce of Me’ was inspired by singing dramatic, fun, 80s love songs at karaoke with my friends,” Hollingworth said in a statement. “I wanted to write something of my own I could imagine in that setting. It’s a song about not being able to help falling for someone despite your reservations about love and trying your hardest not to.”

Let’s Eat Grandma’s last album was 2022’s Two Ribbons.

 

Dennis Abhuru’s Portraits of Childhood Resilience in Silent Testimonies

Modestas Mankus
-
0
Dennis Abhuru’s Portraits of Childhood Resilience in Silent Testimonies

In Silent Testimonies, Nigerian multidisciplinary artist Dennis Abhuru strips away the noise of the world and asks us to sit with silence–the silence of children whose struggles too often go unheard. The three works in the series–Beyond the Sensory Toys, Cost of Light, and Solemnity–form a haunting yet tender body of work that invites us to inspect resilience, fragility, and longing in childhood. What emerges is a visual testimony of endurance and hope, articulated not through words but through gaze, gesture, and symbolism.

Abhuru, whose practice bridges traditional drawing, painting, and digital art, has long been committed to themes of childhood, resilience, and human dignity. His portfolio highlights marginalized voices, particularly children with special educational needs, and he sees art as a tool for empathy, dialogue, and social change. Now based in the UK, where he teaches at a Special Educational Needs (SEN) school, Abhuru brings the same commitment to his classroom that he brings to the canvas. To heal.

The first work, Beyond the Sensory Toys, is stark and unsettling. Against a void of blackness, a young boy emerges, drawn in delicate white lines that make his face appear ghostly, almost fragile. He clutches a teddy bear upside down, its warm golden tones the only burst of color in an otherwise skeletal composition. His gaze is steady–direct, unflinching, but devoid of play.

Beyond the Sensory Toys

Here Abhuru critiques the idea that toys, often used to soothe or occupy children, especially those with additional needs, can substitute for deeper forms of care. The upside-down teddy becomes a symbol of misplaced comfort, its softness powerless to meet the child’s more profound need: human connection. The boy does not smile, does not play–he simply looks back, forcing us to reckon with the inadequacy of material solutions to emotional and social struggles. The sparseness of the drawing mirrors the emptiness the child feels, and the black void swallows the scene, strongly emphasizing isolation.

In Cost of Light, Abhuru’s use of chiaroscuro reaches a new level of poignancy. A child, rendered in fine white lines, holds a burning candle close to his face. The golden glow illuminates his features with a fragile warmth, yet the wax drips dangerously onto his small hand. The boy endures the pain without flinching, his wide eyes fixed on the flame.

This piece crystallizes the paradox of resilience. Children are often expected to carry burdens that are far too heavy for their small shoulders, to become sources of light and inspiration even while they themselves are burning. The candle is both literal and symbolic: light as hope, endurance, and faith, but also as sacrifice, fragility, and danger.

Cost of Light

Abhuru reminds us of the quiet heroism of children who, in the face of poverty, displacement, or trauma, still shine for others. Yet the work also carries a warning. Light, if left unprotected, can consume as much as it illuminates. The question lingers: how long can the child hold on before the cost becomes unbearable?

The third piece, Solemnity, is perhaps the most layered of the series. A young boy stands in the rain, his posture heavy, his clothes drenched. A red blindfold blinds his eyes, stripping him of sight and orientation. Above him hovers a dove, widely spread wings, holding a small red object in its beak–perhaps a berry, perhaps a symbol of peace or grace.

The boy cannot see the dove, cannot recognize the nearness of comfort. The rain falls heavily, almost violently, veiling him in sorrow. And yet, the dove remains–a constant, a deep reminder of hope. This is a meditation on isolation, on the feeling of abandonment that so many children experience when they are unseen, unheard, or simply misunderstood.

What makes this work striking is the interplay between absence and presence: the blindfold obscures vision, the rain obscures clarity, yet hope is not absent–it is simply hidden. Abhuru asks us to think often comfort and peace exist within reach, even though if obscured by pain.

Taken together, these three works are witnesses. They do not speak loudly, but their silence resounds. Abhuru has called this series a testimony, and rightly so. Each child becomes a witness not only to their true resilience but to the failures and hopes of the societies around them.

Visually, the series is marked by contrasts, like black voids against fragile lines, muted tones interrupted by strong impacts of color, stillness punctuated by flares of motion–a dove, a candle flame, a child’s unwavering stare. The scratch-like linework gives the figures a ghostly, transient quality, as if they are caught between presence and disappearance. This intriguing technique mirrors the precariousness of childhood itself–fragile, easily overlooked, yet profoundly real.

Abhuru’s Silent Testimonies builds on his earlier Child Series, which gained somewhat global attention for its portrayal of kids with autism,and down syndrome. But here, the artist reaches further, creating a truly universal language of vulnerability and strength. His faith, his role as an educator, and his commitment to inclusion all converge in these works, making these not just aesthetically compelling but in fact socially urgent.

Art has a great power to what simple words cannot, and in Silent Testimonies, Dennis Abhuru makes visible the truths often buried in silence. He asks us to look closer–to move beyond toys, beyond slight symbols of resilience, beyond surface impressions–and to see children in their fullness: fragile yet strong, wounded yet luminous, isolated yet never abandoned.

1...818283...1,817Page 82 of 1,817

Quick Access

Our Culture

Helpful

© 2025 Our Culture Mag Limited. All rights reserved. Use of this site constitutes acceptance of our User Agreement (updated 2/1/2025) and Privacy Policy and Cookie Statement (updated 2/1/2025). The material on this site may not be reproduced, distributed, transmitted, cached or otherwise used, except with the prior written permission of Our Culture Mag Limited.