Search
1000 results for “less_beauty”
-
CW: Memorial; Death of a legend
I had more-or-less zero appreciation for art---as practice, as creation, as human activity---when I took his class. I do not remember what compelled me to sign up. But I had pretty much self-assigned myself from first grade as "someone who just doesn't care about art."
Mr. Slipek completely turned that around. He taught me to find the beauty in the connections, the history, and the ever-unfolding narrative that is people trying to communicate things that can be nearly impossible to convey to each other... Through every single form of art. He gave me a framework to understand it as something we do because we are human; because if we didn't, the world would just be... Harder. More boring. Worse. With no small amount of weight, I can credit him, personally, with showing me where the magic was in that entire space. He was also very patient with a kid who was more than a little bit of a screw-up in terms of self-organization and didn't always keep his calendar together: firm but fair about deadlines and the quality of work.
I am not an artist, I do not have the patience, but I have a very deep respect for the practice and the work that I learned in his classroom in the trailer behind the high school (because, hey, buildings are expensive).
Mr. Slipek, I hadn't thought about you in years; I'm crying that you're not with us anymore. Your teachings are, quietly, a tent-pole in my life. Thank you. From the bottom of my heart. Thank you.
https://www.styleweekly.com/remembrance-edwin-eddie-slipek-1950-2025/
-
CW: Memorial; Death of a legend
I had more-or-less zero appreciation for art---as practice, as creation, as human activity---when I took his class. I do not remember what compelled me to sign up. But I had pretty much self-assigned myself from first grade as "someone who just doesn't care about art."
Mr. Slipek completely turned that around. He taught me to find the beauty in the connections, the history, and the ever-unfolding narrative that is people trying to communicate things that can be nearly impossible to convey to each other... Through every single form of art. He gave me a framework to understand it as something we do because we are human; because if we didn't, the world would just be... Harder. More boring. Worse. With no small amount of weight, I can credit him, personally, with showing me where the magic was in that entire space. He was also very patient with a kid who was more than a little bit of a screw-up in terms of self-organization and didn't always keep his calendar together: firm but fair about deadlines and the quality of work.
I am not an artist, I do not have the patience, but I have a very deep respect for the practice and the work that I learned in his classroom in the trailer behind the high school (because, hey, buildings are expensive).
Mr. Slipek, I hadn't thought about you in years; I'm crying that you're not with us anymore. Your teachings are, quietly, a tent-pole in my life. Thank you. From the bottom of my heart. Thank you.
https://www.styleweekly.com/remembrance-edwin-eddie-slipek-1950-2025/
-
CW: Memorial; Death of a legend
I had more-or-less zero appreciation for art---as practice, as creation, as human activity---when I took his class. I do not remember what compelled me to sign up. But I had pretty much self-assigned myself from first grade as "someone who just doesn't care about art."
Mr. Slipek completely turned that around. He taught me to find the beauty in the connections, the history, and the ever-unfolding narrative that is people trying to communicate things that can be nearly impossible to convey to each other... Through every single form of art. He gave me a framework to understand it as something we do because we are human; because if we didn't, the world would just be... Harder. More boring. Worse. With no small amount of weight, I can credit him, personally, with showing me where the magic was in that entire space. He was also very patient with a kid who was more than a little bit of a screw-up in terms of self-organization and didn't always keep his calendar together: firm but fair about deadlines and the quality of work.
I am not an artist, I do not have the patience, but I have a very deep respect for the practice and the work that I learned in his classroom in the trailer behind the high school (because, hey, buildings are expensive).
Mr. Slipek, I hadn't thought about you in years; I'm crying that you're not with us anymore. Your teachings are, quietly, a tent-pole in my life. Thank you. From the bottom of my heart. Thank you.
https://www.styleweekly.com/remembrance-edwin-eddie-slipek-1950-2025/
-
I need husband: AI beauty standards, fascism and the proliferation of bot driven content
https://link.springer.com/article/10.1007/s00146-025-02491-8This paper by @minxdragon is well written, IMHO. It draws together observations on a range of topics and contemporary social/political trends that may appear on superficial examination to be unconnected. This research does an excellent job of digging deeper, and revealing their interconnected nature, and the underlying mechanisms and motivations at play.
"I wanted to see if interacting with AI slop on Facebook would have a similar effect. To that end I created a Facebook account and liked the pages responsible for the “I need a Husband” posts. I started seeing signs of alt-right content within 24 h and in less than a week the account was algorithmically served pornographic posts, misogyny, racism, military AI slop and religious propaganda. I particularly noticed the chain letter style of Christianity posts, with a white AI Jesus imploring viewers to like, comment, share and subscribe to the videos to receive blessings and wealth."
#AI #GenerativeAI #MaleGaze #AISlop
#AltRightPipeline #Fascism #Misogyny #Racism #Sexism #IronyPoisoning #Facebook #ShrimpJesus -
The Beauty of Flowing Air
Reading Time: 4 minutes
People think that to be comfortable on a hot day you need to rush to an air conditioned room or building but that idea is wrong. When I worked on one building, for three years, I called it "air conditioned hell" for a simple reason. For the body to cool it needs air flow to help evaporate water. When there is no air flow it feels stuffy, and we interpret this as being too hot.
Well Designed Housing
When I lived in a 1980s house I knew that the basement and ground floor would be a pleasant 21°c up to 25 or so in summer if I opened the windows at the wrong time of day. The result is that if I was careful that building was comfortable, even in the hottest heatwaves.
The Insulated Box With Little Air Flow
In contrast living in a Minérgie building, designed for a cold climate is hell for two key reasons. The first is that the stairwell, and lift shaft have no way of venting outdoors, except if people on the top floor open their hallway doors.
The result is that in summer the core of the building heats, and heats, and heats. As it is minergie everything is designed to keep winter heat in, but there are no vents to evacuate summer heat. As I write this post it is 30°c in the room where I am sitting.
In the mornings the Outdoor air temperature (OAT) is in the twenties. It is 26°c outdoors now. If the heat exchanger worked properly, then, with closed windows, and doors, the building could bring cool air into the building, and vent warm air.
A few years ago, around 2003, we had a heat wave. I was living in an apartment that had windows on both sides. I would open the windows, and balcony door, and I would have a cooling breeze from sunrise until sunset. It was warm, but I was never uncomfortable.
When I worked in the Palais Wilson I was on the ground floor with tarmac right outside my window. I would be soaked due to the heat. Eventually I learned to open the door behind me, to the hallway, to get a breeze. As soon as I did that I felt more comfortable.
Another person, in the same room, a few weeks later did the thing normal people did. He turned on a fan, instead.
Since living in this apartment I have felt uncomfortable with the heat and I have had to adapt. I adapted by wearing shorts, for the first time in years. I adapted by opening the veluxes just enough to vent hot air outwards without allowing hot outdoor air back in. In so doing I get a chimney effect which helps create a draft that helps cool me. It's a low tech solution that helps keep me cool, without using air conditioning.
Water and Shade
When I worked in another office I found that an open window and a carton of ice tea would help me stay cool in summer. I found that air flow and hydration are how we keep cool in summer.
The Fallacy of Air Conditioning
When I worked in the air conditioned building, despite the temperature being controlled it was still stifling because of the lack of air flow. For humans to stay cool, we don't need to refrigerate them like machines. We need air flow that helps evaporate water. The human body is designed to keep cool, and so is nature.
Of Radiant Concrete Jungles and Cool Forests
When you hike, and when you cycle, you immediately feel the effect of cycling into a city and stopping at a traffic light. That cooling air flow that you felt when cycling is gone. You're suffocated by an unbearable urban heat that makes you deeply uncomfortable. You become desperate for a fountain, to splash your head.
A few minutes later you're out of the urban jungle and you're riding into a cool forest. The shade keeps you cool, but so do the transpiring trees, and the river flowing nearby.
Nature keeps us cool, and villages had plenty of places where people could go for shade, and to cool down. Villages are becoming urban jungles. Cool trees and gardens are being replaced with apartment blocks and tarmac parkings.
The Hunt for Air Conditioning
Americanised people see the heat and they're desperate for air conditioning to cool down. There are three flaws with air conditioning. The first of these is that it requires huge amounts of energy. That energy releases carbon dioxide and that carbon dioxide makes global warming worse.
One day, in July, I finished my morning shift and I stepped outdoors. I saw people in summer clothing, ready for a barbecue. I was in trousers and a fleece. In an air conditioned office it is Autumn all year long. You don't acclimate to the heat. The result is that you go from being cold, to cooked, and back to being cold. In my eyes an open window, and a pleasant breeze achieve the same thing without the energy cost.
The third one is that people forget about environmentally sound solutions that have been in use for generations, centuries or even longer.
And Finally
Idealistically I want cooling to be natural, rather than powered by electricity. I want plants and natural phenomena to help cool. If I can open windows on two sides of a building then I will try that. If I can keep the shutters closed until after the sun has vanished I will do that.
I know that the veluxes get so hot that they can't be touched in summer. That's why I open them just enough for the heat to escape but not so wide as to allow hot air to rush in.
If I wake early enough in the morning I open the hallway door, and the balcony door, and I attempt to vent the hot air that has collected in the hallway. By trying to keep the core of the building cool I hope to keep the top two floors a little cooler.
Idealism
According to my idealism a Minérgie building should be designed to vent hot air in summer, not just to stay warm in winter. Idealistically it would take cool evening and morning air, and flood the building with it in the morning, to keep the building at 25°c or less, without increasing to over 30°c in the afternoon.
Conclusion
I would prefer to have open windows and flowing air than air conditioning. In my experience air conditioned environments can feel stuffy, and when you go back outdoors you are hit by a wall of heat. Las Vegas illustrates this well, as does Stovepipe Wells. A shaded park with trees and a river are comfortable during a heatwave.
Discalimer
My favourite place for air conditioning is a car, in summer. I spent two or more summers driving a car without AC and I called it "The Oven". I believe air conditioning in cars makes sense, when driving at speed, or on avery hot day.
-
Are Men Less Generous to a Smarter Woman? Evidence from a Dictator Game Experiment
https://arxiv.org/pdf/2012.04591"…men are more generous to women than to men (see, e.g., also https://economicscience.net/publications/2015-jebo/ )
…men’s higher generosity towards
women may be due to paternalism and thus be reversed if women excel in those skills…results are inconsistent with the hypothesis: male dictators give more to higher-IQ female receivers than to higher-IQ male receivers relative to the difference in giving between lower-IQ female and male receivers
…male dictators allocate more to attractive receivers, consistent with the so-called “beauty premium,” and male dictators with high IQs allocate less
…men are no less generous to women even when women excel in cognitive skills"
#experimentalEconomics #discrimination -
Hey, everyone. This is Allēna again. This will likely be quite a brief post, as I’m very tired. Today was good, in part because Castor went and dropped about a hundred bucks that we had on hand at our favorite headshop down the road and got some legal good shit and a water pipe for his trouble that looks like uranium glass.
Bills are paid (or will be able to) and so we decided that we get to treat ourselves a bit with the leftover money while saving the rest. I’m glad Castor did. He seems to have accidentally purchased some top shelf shit, though, and we have no tolerance anymore after taking a several months long smoke break. The results have been interesting, to say the least.
Just this morning, I scared Sheik’s tiniest cat shitless because the bowl I had smoked was too big and I was having a panic attack. I have no idea WHY she got so scared, but I do know that being around intense emotions makes her scared, and I was intensely frightened. Poor baby love. I will do my best to make it up to the sweet thing later. She seemed to enjoy it initially and even asked for scritchy for a little bit during the first few minutes before I started panicking too bad.
Once I can calm my fucking brain down, that’s when it gets interesting. The system has always enjoyed a good sativa strain, but the headshop didn’t seem to have any, and we wanted a hybrid, anyway. So Castor got his hybrid. He ended up picking up a roughly 50/50 split hybrid strain. And let me tell you – the combination of mind and body high is fascinating once we actually realize that we’re just stoned and anxious, we aren’t about to have a damn seizure.
It’s almost like the conscious mind takes a backseat and the body takes on a life of its own. What we do think consciously is more or less free from any kind of distortions caused by trauma. Castor got high with Sheik the first time and was entranced by her beauty more than usual. I think this was because once his enormous panic attack finally subsided, his fear was almost…muted and he was able to see himself as he actually saw her without need for the elaborate defense system our traumatized brain put in place. From what I can recall, it was beautiful.
My bowl this morning was similar. I had smoked too much at once, so after I’d convinced the body and mind that I was sufficiently safe, it was as though I saw the world in vivid, intense, lovely color. It was early afternoon and golden light was pouring in through the windows. Then the body got very horny. Like obscenely horny. So I started masturbating and, unbound from the elaborate defenses, the body simply did its own thing while we took a backseat. Good gods, I lost track of how many times we finished. We’ve never been able to do something like that before in our entire life. I felt as fucking beautiful as the afternoon coming through the windows.
Hell, there were so many fucking orgasms today that when I sobered up a bit, I went over to Emerson’s and ate basically my body weight in pizza and cheese (to start) and while his attorney alter, Pendragon was watching a movie, I fell deeply asleep while cuddling him for about 2.5 hours. Pendragon is a deep love of mine and feels very safe, so it was a lovely nap. The pain is better, even when I am sober, too. But the body feels like it’s been hit by a train in a great way. Shit.
I’ll update with more findings as time goes on, but we seem to have uncorked something..
Stay tuned for more magic! For now, though, it’s sleep time…
-Allēna
https://opensorceryy.co/marijuana-tales/
#beauty #bliss #brainThings #Emerson #hybrid #marijuana #NSFW #Pendragon #sativa #Sheik #stonerTales #topShelf #waterPipe #weirdShitTheBodyDoes
-
That three-double collar is a thing of beauty! Note the slight curves that - while hardly vidible - gives an extra ornamental vibe. And they were sensible enough to add gold embroideries on it! A Western clothes designer would have gone "less is more", put two pearls on each flap, and called it a day.
(Eye contact in pic.)
#StrangeTalesOfTangDynasty #costuming #CDramaCrime #wuxia #CDrama
-
I suddenly realised that our #concert is in less than 3 weeks and panic-practiced some Nutcracker and Sleeping Beauty today. We're playing in #Knightsbridge on December 3rd if any #London people are interested! I'm on #violin but don't worry, we've got a big #orchestra so you can't even hear me :) https://www.eventbrite.co.uk/e/leo-winter-concert-tickets-427131661297
-
I suddenly realised that our #concert is in less than 3 weeks and panic-practiced some Nutcracker and Sleeping Beauty today. We're playing in #Knightsbridge on December 3rd if any #London people are interested! I'm on #violin but don't worry, we've got a big #orchestra so you can't even hear me :) https://www.eventbrite.co.uk/e/leo-winter-concert-tickets-427131661297
-
@drawkcab @ChrisMayLA6 #Apprentices aged under 25 and earning less that £50k do not attract #EmployersNI contribution.
I believe it likely that the significant majority of those in hair and beauty meet those criteria.
-
So it's set: I'll be a platinum blonde in less than a month. Went to my consultation today and got an appointment! All I need do now is sit, wait, and dream of brighter days and a better me...
Painting is Karl Wilhelm Diefenbach's "A Girl on the Shore" (she really does embody this vibe...).
#self #thoughts #blonde #platinumblonde #hair #makeover #beauty
-
#NVO987 #ArtHistory #Culture #Fashion
📰 The New Workout Trend Making a Case for Doing Less
Sign us up.
🔗 https://www.elle.com/beauty/health-fitness/a71284678/low-effort-impact-workouts-benefits-interview-2026/ -
https://www.alojapan.com/1489115/japan-for-first-timers-who-want-beauty-comfort-and-less-overwhelm/ Japan for First-Timers Who Want Beauty, Comfort, and Less Overwhelm #Hakone #HakoneRopeway #ImageCredit #Japan #Kanazawa #Kyoto #KyotoNews #news #shutterstock #Tokyo #TokyoStation #京都 #京都府 Japan can overwhelm first-time visitors before the trip even begins. Tokyo alone could fill a week, Kyoto has enough temples and gardens for several visits, and the rail map looks intimidating until the first few station signs start to make sense. A first J
-
https://www.alojapan.com/1489115/japan-for-first-timers-who-want-beauty-comfort-and-less-overwhelm/ Japan for First-Timers Who Want Beauty, Comfort, and Less Overwhelm #Hakone #HakoneRopeway #ImageCredit #Japan #Kanazawa #Kyoto #KyotoNews #news #shutterstock #Tokyo #TokyoStation #京都 #京都府 Japan can overwhelm first-time visitors before the trip even begins. Tokyo alone could fill a week, Kyoto has enough temples and gardens for several visits, and the rail map looks intimidating until the first few station signs start to make sense. A first J
-
CW: Anekantavada means “no-one-sidedness" or “no-one-perspective-ism” because it's always the relativity of viewpoints...
The multiplicity and relativity of viewpoints means all the arguments hold some sort of validity from genuine participants and gets more towards underlying or common #Truth.
Holding truth is very important for people and personal truth as value itself. Not to ignore genuine individual people or feel that you are being ignored is a big part of which Anekantavada already expects to have "many sides" to any given perspective.
For those not genuine I think they are often people who are not finding a place of acceptance and rebel or have no way of expression and have to go for lesser things or more forceful / direct ways simply because they can't do that in existing world (for example they are shut off by others or systematically) so feelings are also a reflection of the way it is now. If expression has no place or very little is actually respected (none is actually heard or example just goes to twisted mainstream social media) then people lashes out or isn't training better which safe spaces online or in person you will agree is so much better conversing and exchanging views about rather than taking offense or mainstream reaction-culture.
The mass of opinion usually overwhelms people or system (of course most systems actually are deliberately installed as they "don't want to know" from the very beginning and use computers etc to enforce that) but taken as relativity by individuals as their own planetary style system themselves, Anekantavada perspective makes it a lot less cut-throat in expectations from opinions and personally more accepting / softer to accept. )
"Because the Jain position was able to overcome the apparent inconsistencies between the other views (or religions)... it came closer to fully grasping the one underlying truth, satya."
( This underlying or let's say META from personal experiences or opinions is often really what we want to "get" to AND without discounting genuine views - whatever our opinion - because we each have of those and are improving them)
THAT MEANS OUR OPINIONS CAN CHANGE ALSO!
#Anekantavada also says in short, for everything: "in some ways it is and in some ways it is not, sometimes both at the same time" which is also factual in terms of object or people's attributes and opinions being true in this sense but untrue if looking as different category or comparison.
So more often it is not 1 or 0 or universally all true or false but always a mix of who is looking at what and how... because often "it is that" and then "it isn't that" (and it can be changing or alternating like a mood) so in some way it's so much better to be accepting of that from the beginning... because especially as people, we change and so do things around us. Having such rigidity is actually the problem that makes us break rules or expectations so easily.
As extreme example you can see how #fascism / #binary / #tech doesn't work or is insensitive to people's diversity or opinions because it cuts it out / forces right boxes, confines to narrow pipes of expression etc...
I'd add that this is multi-sided-ness is totally natural, not just from my perspective and yours (individuality as onlookers) but also from the nature perspective of our world where each thing can serve another purpose for many reasons or the appreciation can seen in a different light depending on who / what creature is shining light on it or sharing it- sometimes quite momentary, ethereal and holding context by 2 or more at the time where alone it might not seem to exist...
This way could be the most beautiful and consistent way to appreciate the #beauty and awe (or awesomeness) of the world together and make that #life itself.
Mostly my writing - few paragraphs from this source:
Harvard Pluralism Project:
https://pluralism.org/anekantavada-the-relativity-of-views -
GDP Measures Agency. Less Agency, Less Liberty.
The Gross Domestic Product, GDP, of a country in a year is the sum of all financial transactions in that country during that year… Measured in the local currency converted in US Dollars (which is roughly equivalent to the EUro). GDP is simple, all too simple, and thus has come under heavy criticism since it exists (including from yours truly). However, GDP measures WORLD AGENCY, it’s therefore an excellent first approximation (especially as agency, also known as war in its strongest form, makes a noticeable return in the collective psyche). Ignoring GDP means ignoring liberty, not just prosperity. Let me explain.
In a country such as France the national association budget is 35 billion Euros, more than the budget for high education and research combined. Such an expense is mostly outside of GDP: the association typically helps, but does not sell, so they are not GDP producers. This may be one of the reasons why French GDP per capita used to be the same as in Switzerland fifty years ago, and is now half (there are also association budgets financed by regions and cities, on top of the 35 billions). The idea was to create a socialist society where everybody would help everybody.
In practice though this anti-GDP, anti-for profit economy, has just weakened France, preventing France from imposing her social, environmental or sovereign views on the rest of Europe. Now, increasingly, this starts to be understood in France (as it has been in Italy). As China has shown since Deng Xiaoping, the best way to do socialism is with a flourishing capitalist sector.
GDP is a measure of activity, in other words, agency, on a worldwide basis.Roughly, if a country has ten times the GDP, it can buy ten times more, sell ten times more and influence ten times more.
Until the full-blown invasion of Ukraine, Europe decided to outlaw or discourage many practices which were viewed as non virtuous from drilling for hydrocarbons (because that damages the environment) to state support for industrial champions (because that’s against free trade). Very high taxes against the middle class were supposed to redistribute income. The result was Putin’s invasion of Ukraine in 2014. When the Russian dictator saw that Europe was still keen to be increasingly impotent, he launched the march on Kyiv… In 2022. That finally woke up sleeping beauty Europe.
The result has been much less GDP growth in Europe than the USA or China and thus an ever greater dependency on both. Poverty has increased and now even the healthcare systems are becoming too expensive. Meanwhile Europe is desperate for capital and makes it so that plutocrats pay little tax.
In the last couple of years, Europe has started to understand the importance of GDP better than in the preceding two decades. Reasons? Trump, Biden, Putin. Putin showed raw power worked until it didn’t because Biden pursued Trump’s policy of giving weapons to Ukraine (which Obama did NOT do, to his eternal contrition…) Biden also showed that Trump’s MAGA policy made sense economically and through tariffs…. Obama had started it to some extent, financing Tesla and SpaceX because Musk was photogenic like him?… And launching the “Pivot to Asia”… But with Obama it was mostly words… When Biden extended Trump’s tariff policies against China, the EU partly followed… Hence the overtaking…The UK is not in the graph above, although it should be, and would add roughly 5 trillion dollars to it to the EU yellow line…
***
Patrice Ayme
#Agency #China #Economy #EU #Finance #GDP #MAGA #MEGA #NATO #politics #Russia #Trump #Ukraine #USA -
Wild #bees & other #pollinators need #wildflowers to survive. So cut less grass and leave parts of your garden wild or semiwild. Enjoy beauty and richness of life!
-
Further Honoring My Ballet Lineage
I came across a rare vintage pair of pointe shoes recently: Ben & Sally’s Noi-z-less pointe shoes. The shoes date from the mid 1920s and the company is, I believe, long defunct (This is a problem with many pointe shoe brands: even if they are popular, they get gobbled up by larger brands like Capezio, Bloch, Freed, etc. In the 20s, the only world-wide brand of pointe shoe was Capezio, thanks to Pavlova’s patronage of the company. It took time for pointe shoe brands to catch up to developing technique. That’s always a hand in hand journey. These shoes are a real treasure. They have a suede toe, which was common at least through the 1950s. It was thought to reduce noise and extend the life of the shoe. I believe one can still find suede toe shoes — Selva in the 50s was a very popular model. I don’t like the suede. I prefer to darn my shoes to my specifications but as I said, as American pointe shoe companies were starting up, one can find many interesting modifications to what we’d recognize as a pointe shoe today. I’m particularly amused to find that dancers in the 20s had the same problem as dancers in my generation, as dancers now with the heels of their shoes slipping off (hence the elastic).
I am thinking for both my castrati and my dancer of profiling individuals every month. I’ve written before about certain dancers but I might make this a regular thing. One of the dealers from whom I buy pointe shoes, by the way, has a pointe shoe double signed by Nureyev and Fonteyn. I only really collect women’s pointe shoes and I’ve never liked Fonteyn (heresy, I know, but I rather loathe her), so I’ve let it pass, but if anyone is interested or wants to pick up much less expensive ephemera, this is an awesome, really awesome place to look.
This weekend I’m going to see the final performance of NYCB principal dancer Megan Fairchild. She’ll be performing the lead role in one of the great comedic ballets: “Coppelia.” Here is an interview with her. She is a fantastic technician and has a very strong stage presence. I remember seeing her in this same role when I and my husband were courting. It’s a bitter-sweet thing to now be seeing her retirement performance. She is an important link in the chain of lineage that binds this tradition — that of ballet– together, one generation to the next through bodies, through pain, through shared exhilaration of touching the transcendent. As an aside, Ms. Fairchild attended both universities at which I teach and received her MBA at NYU where I received my first MA. I just think this is very cool, but she sounds from her interviews a thousand times more organized than I ever was. lol.
Here ^ she is in “Theme and Variations,” an extremely difficult piece (technically). You can read the article accompanying the image here. She has danced for a quarter of a century with NYCB and now is passing the torch. She has three children (something unheard of in my day as a dancer, just like going to college. When I danced, we were told it was a career or school, not both; and children could wait until retirement. I still get absolutely appalled when a principal dancer takes time off to have a child– and I know is just the way I was trained, one of the unhealthy things of dancing in my generation. In my day, at the companies where I worked, it would have been read as not being serious about one’s art. I think it’s a good change though and apparently with development in kinesiology, dancers are coming back from pregnancies thin, with pelvic girdle strong, and with a strong core. I think that in the old days (lol) we didn’t know how to achieve the last two things so well. Now dancers talk about it and there’s much more care given to PT, kinesology, and recovery. I’m glad this has changed). According to one of the articles I’ve read about her retirement, she and her family plan to move to France to ensure that her kids grow up bi-lingual (her husband, I believe is French). She’ll work as a repetiteur, one who sets ballets, in this case the Balanchine ballets she has danced, and maintains the integrity of the choreography. “Coppelia” is a perfect ballet for her, a perfect reverence to her time in service to this art. For those wondering, yes, I have two pair of her pointe shoes, both pairs signed. I’d post a picture, but they’re wrapped up in acid free paper and packed away in archival boxes.
#Ancestors #Art #Ballet #beauty #dance #devotion #honoringAncestralLineage #HonoringTheAncestors #lineage #NYCB #pointeShoes -
Further Honoring My Ballet Lineage
I came across a rare vintage pair of pointe shoes recently: Ben & Sally’s Noi-z-less pointe shoes. The shoes date from the mid 1920s and the company is, I believe, long defunct (This is a problem with many pointe shoe brands: even if they are popular, they get gobbled up by larger brands like Capezio, Bloch, Freed, etc. In the 20s, the only world-wide brand of pointe shoe was Capezio, thanks to Pavlova’s patronage of the company. It took time for pointe shoe brands to catch up to developing technique. That’s always a hand in hand journey. These shoes are a real treasure. They have a suede toe, which was common at least through the 1950s. It was thought to reduce noise and extend the life of the shoe. I believe one can still find suede toe shoes — Selva in the 50s was a very popular model. I don’t like the suede. I prefer to darn my shoes to my specifications but as I said, as American pointe shoe companies were starting up, one can find many interesting modifications to what we’d recognize as a pointe shoe today. I’m particularly amused to find that dancers in the 20s had the same problem as dancers in my generation, as dancers now with the heels of their shoes slipping off (hence the elastic).
I am thinking for both my castrati and my dancer of profiling individuals every month. I’ve written before about certain dancers but I might make this a regular thing. One of the dealers from whom I buy pointe shoes, by the way, has a pointe shoe double signed by Nureyev and Fonteyn. I only really collect women’s pointe shoes and I’ve never liked Fonteyn (heresy, I know, but I rather loathe her), so I’ve let it pass, but if anyone is interested or wants to pick up much less expensive ephemera, this is an awesome, really awesome place to look.
This weekend I’m going to see the final performance of NYCB principal dancer Megan Fairchild. She’ll be performing the lead role in one of the great comedic ballets: “Coppelia.” Here is an interview with her. She is a fantastic technician and has a very strong stage presence. I remember seeing her in this same role when I and my husband were courting. It’s a bitter-sweet thing to now be seeing her retirement performance. She is an important link in the chain of lineage that binds this tradition — that of ballet– together, one generation to the next through bodies, through pain, through shared exhilaration of touching the transcendent. As an aside, Ms. Fairchild attended both universities at which I teach and received her MBA at NYU where I received my first MA. I just think this is very cool, but she sounds from her interviews a thousand times more organized than I ever was. lol.
Here ^ she is in “Theme and Variations,” an extremely difficult piece (technically). You can read the article accompanying the image here. She has danced for a quarter of a century with NYCB and now is passing the torch. She has three children (something unheard of in my day as a dancer, just like going to college. When I danced, we were told it was a career or school, not both; and children could wait until retirement. I still get absolutely appalled when a principal dancer takes time off to have a child– and I know is just the way I was trained, one of the unhealthy things of dancing in my generation. In my day, at the companies where I worked, it would have been read as not being serious about one’s art. I think it’s a good change though and apparently with development in kinesiology, dancers are coming back from pregnancies thin, with pelvic girdle strong, and with a strong core. I think that in the old days (lol) we didn’t know how to achieve the last two things so well. Now dancers talk about it and there’s much more care given to PT, kinesology, and recovery. I’m glad this has changed). According to one of the articles I’ve read about her retirement, she and her family plan to move to France to ensure that her kids grow up bi-lingual (her husband, I believe is French). She’ll work as a repetiteur, one who sets ballets, in this case the Balanchine ballets she has danced, and maintains the integrity of the choreography. “Coppelia” is a perfect ballet for her, a perfect reverence to her time in service to this art. For those wondering, yes, I have two pair of her pointe shoes, both pairs signed. I’d post a picture, but they’re wrapped up in acid free paper and packed away in archival boxes.
#Ancestors #Art #Ballet #beauty #dance #devotion #honoringAncestralLineage #HonoringTheAncestors #lineage #NYCB #pointeShoes -
Further Honoring My Ballet Lineage
I came across a rare vintage pair of pointe shoes recently: Ben & Sally’s Noi-z-less pointe shoes. The shoes date from the mid 1920s and the company is, I believe, long defunct (This is a problem with many pointe shoe brands: even if they are popular, they get gobbled up by larger brands like Capezio, Bloch, Freed, etc. In the 20s, the only world-wide brand of pointe shoe was Capezio, thanks to Pavlova’s patronage of the company. It took time for pointe shoe brands to catch up to developing technique. That’s always a hand in hand journey. These shoes are a real treasure. They have a suede toe, which was common at least through the 1950s. It was thought to reduce noise and extend the life of the shoe. I believe one can still find suede toe shoes — Selva in the 50s was a very popular model. I don’t like the suede. I prefer to darn my shoes to my specifications but as I said, as American pointe shoe companies were starting up, one can find many interesting modifications to what we’d recognize as a pointe shoe today. I’m particularly amused to find that dancers in the 20s had the same problem as dancers in my generation, as dancers now with the heels of their shoes slipping off (hence the elastic).
I am thinking for both my castrati and my dancer of profiling individuals every month. I’ve written before about certain dancers but I might make this a regular thing. One of the dealers from whom I buy pointe shoes, by the way, has a pointe shoe double signed by Nureyev and Fonteyn. I only really collect women’s pointe shoes and I’ve never liked Fonteyn (heresy, I know, but I rather loathe her), so I’ve let it pass, but if anyone is interested or wants to pick up much less expensive ephemera, this is an awesome, really awesome place to look.
This weekend I’m going to see the final performance of NYCB principal dancer Megan Fairchild. She’ll be performing the lead role in one of the great comedic ballets: “Coppelia.” Here is an interview with her. She is a fantastic technician and has a very strong stage presence. I remember seeing her in this same role when I and my husband were courting. It’s a bitter-sweet thing to now be seeing her retirement performance. She is an important link in the chain of lineage that binds this tradition — that of ballet– together, one generation to the next through bodies, through pain, through shared exhilaration of touching the transcendent. As an aside, Ms. Fairchild attended both universities at which I teach and received her MBA at NYU where I received my first MA. I just think this is very cool, but she sounds from her interviews a thousand times more organized than I ever was. lol.
Here ^ she is in “Theme and Variations,” an extremely difficult piece (technically). You can read the article accompanying the image here. She has danced for a quarter of a century with NYCB and now is passing the torch. She has three children (something unheard of in my day as a dancer, just like going to college. When I danced, we were told it was a career or school, not both; and children could wait until retirement. I still get absolutely appalled when a principal dancer takes time off to have a child– and I know is just the way I was trained, one of the unhealthy things of dancing in my generation. In my day, at the companies where I worked, it would have been read as not being serious about one’s art. I think it’s a good change though and apparently with development in kinesiology, dancers are coming back from pregnancies thin, with pelvic girdle strong, and with a strong core. I think that in the old days (lol) we didn’t know how to achieve the last two things so well. Now dancers talk about it and there’s much more care given to PT, kinesology, and recovery. I’m glad this has changed). According to one of the articles I’ve read about her retirement, she and her family plan to move to France to ensure that her kids grow up bi-lingual (her husband, I believe is French). She’ll work as a repetiteur, one who sets ballets, in this case the Balanchine ballets she has danced, and maintains the integrity of the choreography. “Coppelia” is a perfect ballet for her, a perfect reverence to her time in service to this art. For those wondering, yes, I have two pair of her pointe shoes, both pairs signed. I’d post a picture, but they’re wrapped up in acid free paper and packed away in archival boxes.
#Ancestors #Art #Ballet #beauty #dance #devotion #honoringAncestralLineage #HonoringTheAncestors #lineage #NYCB #pointeShoes -
Further Honoring My Ballet Lineage
I came across a rare vintage pair of pointe shoes recently: Ben & Sally’s Noi-z-less pointe shoes. The shoes date from the mid 1920s and the company is, I believe, long defunct (This is a problem with many pointe shoe brands: even if they are popular, they get gobbled up by larger brands like Capezio, Bloch, Freed, etc. In the 20s, the only world-wide brand of pointe shoe was Capezio, thanks to Pavlova’s patronage of the company. It took time for pointe shoe brands to catch up to developing technique. That’s always a hand in hand journey. These shoes are a real treasure. They have a suede toe, which was common at least through the 1950s. It was thought to reduce noise and extend the life of the shoe. I believe one can still find suede toe shoes — Selva in the 50s was a very popular model. I don’t like the suede. I prefer to darn my shoes to my specifications but as I said, as American pointe shoe companies were starting up, one can find many interesting modifications to what we’d recognize as a pointe shoe today. I’m particularly amused to find that dancers in the 20s had the same problem as dancers in my generation, as dancers now with the heels of their shoes slipping off (hence the elastic).
I am thinking for both my castrati and my dancer of profiling individuals every month. I’ve written before about certain dancers but I might make this a regular thing. One of the dealers from whom I buy pointe shoes, by the way, has a pointe shoe double signed by Nureyev and Fonteyn. I only really collect women’s pointe shoes and I’ve never liked Fonteyn (heresy, I know, but I rather loathe her), so I’ve let it pass, but if anyone is interested or wants to pick up much less expensive ephemera, this is an awesome, really awesome place to look.
This weekend I’m going to see the final performance of NYCB principal dancer Megan Fairchild. She’ll be performing the lead role in one of the great comedic ballets: “Coppelia.” Here is an interview with her. She is a fantastic technician and has a very strong stage presence. I remember seeing her in this same role when I and my husband were courting. It’s a bitter-sweet thing to now be seeing her retirement performance. She is an important link in the chain of lineage that binds this tradition — that of ballet– together, one generation to the next through bodies, through pain, through shared exhilaration of touching the transcendent. As an aside, Ms. Fairchild attended both universities at which I teach and received her MBA at NYU where I received my first MA. I just think this is very cool, but she sounds from her interviews a thousand times more organized than I ever was. lol.
Here ^ she is in “Theme and Variations,” an extremely difficult piece (technically). You can read the article accompanying the image here. She has danced for a quarter of a century with NYCB and now is passing the torch. She has three children (something unheard of in my day as a dancer, just like going to college. When I danced, we were told it was a career or school, not both; and children could wait until retirement. I still get absolutely appalled when a principal dancer takes time off to have a child– and I know is just the way I was trained, one of the unhealthy things of dancing in my generation. In my day, at the companies where I worked, it would have been read as not being serious about one’s art. I think it’s a good change though and apparently with development in kinesiology, dancers are coming back from pregnancies thin, with pelvic girdle strong, and with a strong core. I think that in the old days (lol) we didn’t know how to achieve the last two things so well. Now dancers talk about it and there’s much more care given to PT, kinesology, and recovery. I’m glad this has changed). According to one of the articles I’ve read about her retirement, she and her family plan to move to France to ensure that her kids grow up bi-lingual (her husband, I believe is French). She’ll work as a repetiteur, one who sets ballets, in this case the Balanchine ballets she has danced, and maintains the integrity of the choreography. “Coppelia” is a perfect ballet for her, a perfect reverence to her time in service to this art. For those wondering, yes, I have two pair of her pointe shoes, both pairs signed. I’d post a picture, but they’re wrapped up in acid free paper and packed away in archival boxes.
#Ancestors #Art #Ballet #beauty #dance #devotion #honoringAncestralLineage #HonoringTheAncestors #lineage #NYCB #pointeShoes -
Further Honoring My Ballet Lineage
I came across a rare vintage pair of pointe shoes recently: Ben & Sally’s Noi-z-less pointe shoes. The shoes date from the mid 1920s and the company is, I believe, long defunct (This is a problem with many pointe shoe brands: even if they are popular, they get gobbled up by larger brands like Capezio, Bloch, Freed, etc. In the 20s, the only world-wide brand of pointe shoe was Capezio, thanks to Pavlova’s patronage of the company. It took time for pointe shoe brands to catch up to developing technique. That’s always a hand in hand journey. These shoes are a real treasure. They have a suede toe, which was common at least through the 1950s. It was thought to reduce noise and extend the life of the shoe. I believe one can still find suede toe shoes — Selva in the 50s was a very popular model. I don’t like the suede. I prefer to darn my shoes to my specifications but as I said, as American pointe shoe companies were starting up, one can find many interesting modifications to what we’d recognize as a pointe shoe today. I’m particularly amused to find that dancers in the 20s had the same problem as dancers in my generation, as dancers now with the heels of their shoes slipping off (hence the elastic).
I am thinking for both my castrati and my dancer of profiling individuals every month. I’ve written before about certain dancers but I might make this a regular thing. One of the dealers from whom I buy pointe shoes, by the way, has a pointe shoe double signed by Nureyev and Fonteyn. I only really collect women’s pointe shoes and I’ve never liked Fonteyn (heresy, I know, but I rather loathe her), so I’ve let it pass, but if anyone is interested or wants to pick up much less expensive ephemera, this is an awesome, really awesome place to look.
This weekend I’m going to see the final performance of NYCB principal dancer Megan Fairchild. She’ll be performing the lead role in one of the great comedic ballets: “Coppelia.” Here is an interview with her. She is a fantastic technician and has a very strong stage presence. I remember seeing her in this same role when I and my husband were courting. It’s a bitter-sweet thing to now be seeing her retirement performance. She is an important link in the chain of lineage that binds this tradition — that of ballet– together, one generation to the next through bodies, through pain, through shared exhilaration of touching the transcendent. As an aside, Ms. Fairchild attended both universities at which I teach and received her MBA at NYU where I received my first MA. I just think this is very cool, but she sounds from her interviews a thousand times more organized than I ever was. lol.
Here ^ she is in “Theme and Variations,” an extremely difficult piece (technically). You can read the article accompanying the image here. She has danced for a quarter of a century with NYCB and now is passing the torch. She has three children (something unheard of in my day as a dancer, just like going to college. When I danced, we were told it was a career or school, not both; and children could wait until retirement. I still get absolutely appalled when a principal dancer takes time off to have a child– and I know is just the way I was trained, one of the unhealthy things of dancing in my generation. In my day, at the companies where I worked, it would have been read as not being serious about one’s art. I think it’s a good change though and apparently with development in kinesiology, dancers are coming back from pregnancies thin, with pelvic girdle strong, and with a strong core. I think that in the old days (lol) we didn’t know how to achieve the last two things so well. Now dancers talk about it and there’s much more care given to PT, kinesology, and recovery. I’m glad this has changed). According to one of the articles I’ve read about her retirement, she and her family plan to move to France to ensure that her kids grow up bi-lingual (her husband, I believe is French). She’ll work as a repetiteur, one who sets ballets, in this case the Balanchine ballets she has danced, and maintains the integrity of the choreography. “Coppelia” is a perfect ballet for her, a perfect reverence to her time in service to this art. For those wondering, yes, I have two pair of her pointe shoes, both pairs signed. I’d post a picture, but they’re wrapped up in acid free paper and packed away in archival boxes.
#Ancestors #Art #Ballet #beauty #dance #devotion #honoringAncestralLineage #HonoringTheAncestors #lineage #NYCB #pointeShoes -
Showed up this morning, for less than $200 I got:
- an original #commodore64 vintage keyboard working via USB thanks to a #raspberryPiPico and some c code
- a brand new c64 mechanical keyboard mod also functioning over the same usb micro controller (plus +5v bus for the blue lights)
- the #commodore64ultimate starlight case
After some local free 3d printing and upcycle reselling, I'll have paid less than 50% MSRP. Hype to put a #raspberrypi 5, flex atx psu, and mid range GPU in this beauty. -
Archspire – Too Fast to Die Review By Alekhines GunAfter no less than three albums’ worth of glowing praise from my great predecessor Kronos, it’s safe to say that a new Archspire is a big deal in the hall.1 One blistering offering after another has cemented these lads as among the forerunners of tech-death, pushing BPM and bass-string structural integrity in equal measure. But the human body, alas, has limits, and with previous release Bleed the Future already pushing the speedometer well into the red, one could be forgiven for invoking the oldest of clichés: Where do they go from here? There’s only so much speed, so much scale wankery to be derived from mere flesh and bone. With a bit of a self-referential title in Too Fast to Die, Archspire have made their mission statement clear and concise; will their meteoric rise continue to light up the sky, or will their first independent release see them crash and burn?
Archspire have officially been around long enough to say “Expect the expected.” Too Fast to Die continues the band’s whirlwind musical trajectory, with an emphasis on scorching tempos and arpeggios delivered at string-withering pace. New drummer Spence Moore (formerly of Inferi, among others) plays like the lives of his family depend on it, etching his identity into the music with a smorgasbord of snare fills and delightful rhythmic shifts which somehow manage to maintain a blasting pace without ever smearing together into one double-bass-filled haze. Vocalist Oliver Aleron continues to sound pulled from an alternate universe where Atilla doesn’t suck,2 spitting syllable-heavy diatribes with gleeful abandon and an s-tier talent for phrasing which lets him compliment the intensity rather than overwhelm it. Enough breathing room is given to the bass, letting Jared Smith fill in the cracks with sweeps that rumble and clang under the chords with vibrancy and potent kinetic energy (“Red Goliath”) before disappearing back under the assault. Everything is excellently executed, engaging, and familiar.
Too Fast to Die by Archspire
And yet, there is a clear rumbling of growth and evolution in the Archspire camp. Rather than openly go out of their way to crank all the knobs from 11 to 12, Too Fast to Die puts heavy stock on pathos-riddled melody, with a heavier leaning on atmospheric theatrics and amphitheater-ready harmonies which don’t seek to overwhelm as much as invigorate and inspire. Album highlight “Carrion Ladder” features a midsection with a pair of leads so relatively simple a fledgling guitar student could learn to play them, yet thanks to the band’s compositional mastery, this simplicity isn’t an anticlimactic letdown as much as a genuine moment of appreciable, raw beauty, not to mention it features one of Oliver’s catchiest vocal parts. Such moments are littered throughout the album, with the borderline emotional chug section of “Limb of Leviticus” transitioning into the band’s traditional plucked interludes with melancholy rather than neo-classical sheen. Archspire’s interludes in older albums would have sounded just as appropriate if played by harpsichord as much as guitar, but Too Fast to Die eschews just a touch of that dual identity to place a heavier focus on thematic coherence with massive dividends.
Nevertheless, this is still a death metal record, and any gushing over emotive power and atmospheric bombast shouldn’t frighten away fans. “Liminal Cypher” features an absolutely devastating slamming section, and “Deadbolt the Backward” briefly dispenses with the atmospheres and opts for sudden shifts of waltz time signatures and straightforward brutality akin to Deeds of Flesh covering an Origin song. The most tendinitis-inducing of leads kick down your front door in “Anomalous Descent” only to suddenly shift identities and flirt with the briefest of hardcore stylings while putting an exclamation point on the proceedings with honest-to-goodness gang vocals. Somehow, this works. While Archspire haven’t quite gone prog on us with clean vocals and a litany of guest instruments (thank God), it’s delightful to see them stretching their artistic wings in so many directions and skillsets, despite promotional material perhaps pitching them as a one-trick pony of speed.
I haven’t been as high on Archspire as some of my colleagues. I enjoyed them, but felt such a style could only be mined so much. Too Fast to Die is Archspire commanding me to take those opinions and violate myself with them, track after track after track. This album sees the band embracing their not-so-newfound star status and offering an experience that is riddled with crowd-engaging moments, meticulously engineered pit fodder, and leads of such beauty that you could sing them in the shower, without sacrificing an ounce of the Africanized-bees-on-red-bull songwriting backbone. “Where do they go from here?” I wondered? Well, the answer is “bigger and better”, and if we are entering a new era of grandiosity over raw technique, I’m so here for it. You should be, too.
Rating: 4.0/5.0
#2026 #40 #Apr26 #Archspire #Atilla #CanadianMetal #DeedsOfFlesh #Inferi #Origin #Review #Reviews #SelfRelase #Techdeath #TooFastToDie
DR: NA | Format Reviewed: Yet another stream, come on, guys
Label: Self-release
Website: Album Bandcamp
Releases Worldwide: April 10th, 2026 -
Archspire – Too Fast to Die Review By Alekhines GunAfter no less than three albums’ worth of glowing praise from my great predecessor Kronos, it’s safe to say that a new Archspire is a big deal in the hall.1 One blistering offering after another has cemented these lads as among the forerunners of tech-death, pushing BPM and bass-string structural integrity in equal measure. But the human body, alas, has limits, and with previous release Bleed the Future already pushing the speedometer well into the red, one could be forgiven for invoking the oldest of clichés: Where do they go from here? There’s only so much speed, so much scale wankery to be derived from mere flesh and bone. With a bit of a self-referential title in Too Fast to Die, Archspire have made their mission statement clear and concise; will their meteoric rise continue to light up the sky, or will their first independent release see them crash and burn?
Archspire have officially been around long enough to say “Expect the expected.” Too Fast to Die continues the band’s whirlwind musical trajectory, with an emphasis on scorching tempos and arpeggios delivered at string-withering pace. New drummer Spence Moore (formerly of Inferi, among others) plays like the lives of his family depend on it, etching his identity into the music with a smorgasbord of snare fills and delightful rhythmic shifts which somehow manage to maintain a blasting pace without ever smearing together into one double-bass-filled haze. Vocalist Oliver Aleron continues to sound pulled from an alternate universe where Atilla doesn’t suck,2 spitting syllable-heavy diatribes with gleeful abandon and an s-tier talent for phrasing which lets him compliment the intensity rather than overwhelm it. Enough breathing room is given to the bass, letting Jared Smith fill in the cracks with sweeps that rumble and clang under the chords with vibrancy and potent kinetic energy (“Red Goliath”) before disappearing back under the assault. Everything is excellently executed, engaging, and familiar.
Too Fast to Die by Archspire
And yet, there is a clear rumbling of growth and evolution in the Archspire camp. Rather than openly go out of their way to crank all the knobs from 11 to 12, Too Fast to Die puts heavy stock on pathos-riddled melody, with a heavier leaning on atmospheric theatrics and amphitheater-ready harmonies which don’t seek to overwhelm as much as invigorate and inspire. Album highlight “Carrion Ladder” features a midsection with a pair of leads so relatively simple a fledgling guitar student could learn to play them, yet thanks to the band’s compositional mastery, this simplicity isn’t an anticlimactic letdown as much as a genuine moment of appreciable, raw beauty, not to mention it features one of Oliver’s catchiest vocal parts. Such moments are littered throughout the album, with the borderline emotional chug section of “Limb of Leviticus” transitioning into the band’s traditional plucked interludes with melancholy rather than neo-classical sheen. Archspire’s interludes in older albums would have sounded just as appropriate if played by harpsichord as much as guitar, but Too Fast to Die eschews just a touch of that dual identity to place a heavier focus on thematic coherence with massive dividends.
Nevertheless, this is still a death metal record, and any gushing over emotive power and atmospheric bombast shouldn’t frighten away fans. “Liminal Cypher” features an absolutely devastating slamming section, and “Deadbolt the Backward” briefly dispenses with the atmospheres and opts for sudden shifts of waltz time signatures and straightforward brutality akin to Deeds of Flesh covering an Origin song. The most tendinitis-inducing of leads kick down your front door in “Anomalous Descent” only to suddenly shift identities and flirt with the briefest of hardcore stylings while putting an exclamation point on the proceedings with honest-to-goodness gang vocals. Somehow, this works. While Archspire haven’t quite gone prog on us with clean vocals and a litany of guest instruments (thank God), it’s delightful to see them stretching their artistic wings in so many directions and skillsets, despite promotional material perhaps pitching them as a one-trick pony of speed.
I haven’t been as high on Archspire as some of my colleagues. I enjoyed them, but felt such a style could only be mined so much. Too Fast to Die is Archspire commanding me to take those opinions and violate myself with them, track after track after track. This album sees the band embracing their not-so-newfound star status and offering an experience that is riddled with crowd-engaging moments, meticulously engineered pit fodder, and leads of such beauty that you could sing them in the shower, without sacrificing an ounce of the Africanized-bees-on-red-bull songwriting backbone. “Where do they go from here?” I wondered? Well, the answer is “bigger and better”, and if we are entering a new era of grandiosity over raw technique, I’m so here for it. You should be, too.
Rating: 4.0/5.0
#2026 #40 #Apr26 #Archspire #Atilla #CanadianMetal #DeedsOfFlesh #Inferi #Origin #Review #Reviews #SelfRelase #Techdeath #TooFastToDie
DR: NA | Format Reviewed: Yet another stream, come on, guys
Label: Self-release
Website: Album Bandcamp
Releases Worldwide: April 10th, 2026 -
Archspire – Too Fast to Die Review By Alekhines GunAfter no less than three albums’ worth of glowing praise from my great predecessor Kronos, it’s safe to say that a new Archspire is a big deal in the hall.1 One blistering offering after another has cemented these lads as among the forerunners of tech-death, pushing BPM and bass-string structural integrity in equal measure. But the human body, alas, has limits, and with previous release Bleed the Future already pushing the speedometer well into the red, one could be forgiven for invoking the oldest of clichés: Where do they go from here? There’s only so much speed, so much scale wankery to be derived from mere flesh and bone. With a bit of a self-referential title in Too Fast to Die, Archspire have made their mission statement clear and concise; will their meteoric rise continue to light up the sky, or will their first independent release see them crash and burn?
Archspire have officially been around long enough to say “Expect the expected.” Too Fast to Die continues the band’s whirlwind musical trajectory, with an emphasis on scorching tempos and arpeggios delivered at string-withering pace. New drummer Spence Moore (formerly of Inferi, among others) plays like the lives of his family depend on it, etching his identity into the music with a smorgasbord of snare fills and delightful rhythmic shifts which somehow manage to maintain a blasting pace without ever smearing together into one double-bass-filled haze. Vocalist Oliver Aleron continues to sound pulled from an alternate universe where Atilla doesn’t suck,2 spitting syllable-heavy diatribes with gleeful abandon and an s-tier talent for phrasing which lets him compliment the intensity rather than overwhelm it. Enough breathing room is given to the bass, letting Jared Smith fill in the cracks with sweeps that rumble and clang under the chords with vibrancy and potent kinetic energy (“Red Goliath”) before disappearing back under the assault. Everything is excellently executed, engaging, and familiar.
Too Fast to Die by Archspire
And yet, there is a clear rumbling of growth and evolution in the Archspire camp. Rather than openly go out of their way to crank all the knobs from 11 to 12, Too Fast to Die puts heavy stock on pathos-riddled melody, with a heavier leaning on atmospheric theatrics and amphitheater-ready harmonies which don’t seek to overwhelm as much as invigorate and inspire. Album highlight “Carrion Ladder” features a midsection with a pair of leads so relatively simple a fledgling guitar student could learn to play them, yet thanks to the band’s compositional mastery, this simplicity isn’t an anticlimactic letdown as much as a genuine moment of appreciable, raw beauty, not to mention it features one of Oliver’s catchiest vocal parts. Such moments are littered throughout the album, with the borderline emotional chug section of “Limb of Leviticus” transitioning into the band’s traditional plucked interludes with melancholy rather than neo-classical sheen. Archspire’s interludes in older albums would have sounded just as appropriate if played by harpsichord as much as guitar, but Too Fast to Die eschews just a touch of that dual identity to place a heavier focus on thematic coherence with massive dividends.
Nevertheless, this is still a death metal record, and any gushing over emotive power and atmospheric bombast shouldn’t frighten away fans. “Liminal Cypher” features an absolutely devastating slamming section, and “Deadbolt the Backward” briefly dispenses with the atmospheres and opts for sudden shifts of waltz time signatures and straightforward brutality akin to Deeds of Flesh covering an Origin song. The most tendinitis-inducing of leads kick down your front door in “Anomalous Descent” only to suddenly shift identities and flirt with the briefest of hardcore stylings while putting an exclamation point on the proceedings with honest-to-goodness gang vocals. Somehow, this works. While Archspire haven’t quite gone prog on us with clean vocals and a litany of guest instruments (thank God), it’s delightful to see them stretching their artistic wings in so many directions and skillsets, despite promotional material perhaps pitching them as a one-trick pony of speed.
I haven’t been as high on Archspire as some of my colleagues. I enjoyed them, but felt such a style could only be mined so much. Too Fast to Die is Archspire commanding me to take those opinions and violate myself with them, track after track after track. This album sees the band embracing their not-so-newfound star status and offering an experience that is riddled with crowd-engaging moments, meticulously engineered pit fodder, and leads of such beauty that you could sing them in the shower, without sacrificing an ounce of the Africanized-bees-on-red-bull songwriting backbone. “Where do they go from here?” I wondered? Well, the answer is “bigger and better”, and if we are entering a new era of grandiosity over raw technique, I’m so here for it. You should be, too.
Rating: 4.0/5.0
#2026 #40 #Apr26 #Archspire #Atilla #CanadianMetal #DeedsOfFlesh #Inferi #Origin #Review #Reviews #SelfRelase #Techdeath #TooFastToDie
DR: NA | Format Reviewed: Yet another stream, come on, guys
Label: Self-release
Website: Album Bandcamp
Releases Worldwide: April 10th, 2026 -
Archspire – Too Fast to Die Review By Alekhines GunAfter no less than three albums’ worth of glowing praise from my great predecessor Kronos, it’s safe to say that a new Archspire is a big deal in the hall.1 One blistering offering after another has cemented these lads as among the forerunners of tech-death, pushing BPM and bass-string structural integrity in equal measure. But the human body, alas, has limits, and with previous release Bleed the Future already pushing the speedometer well into the red, one could be forgiven for invoking the oldest of clichés: Where do they go from here? There’s only so much speed, so much scale wankery to be derived from mere flesh and bone. With a bit of a self-referential title in Too Fast to Die, Archspire have made their mission statement clear and concise; will their meteoric rise continue to light up the sky, or will their first independent release see them crash and burn?
Archspire have officially been around long enough to say “Expect the expected.” Too Fast to Die continues the band’s whirlwind musical trajectory, with an emphasis on scorching tempos and arpeggios delivered at string-withering pace. New drummer Spence Moore (formerly of Inferi, among others) plays like the lives of his family depend on it, etching his identity into the music with a smorgasbord of snare fills and delightful rhythmic shifts which somehow manage to maintain a blasting pace without ever smearing together into one double-bass-filled haze. Vocalist Oliver Aleron continues to sound pulled from an alternate universe where Atilla doesn’t suck,2 spitting syllable-heavy diatribes with gleeful abandon and an s-tier talent for phrasing which lets him compliment the intensity rather than overwhelm it. Enough breathing room is given to the bass, letting Jared Smith fill in the cracks with sweeps that rumble and clang under the chords with vibrancy and potent kinetic energy (“Red Goliath”) before disappearing back under the assault. Everything is excellently executed, engaging, and familiar.
Too Fast to Die by Archspire
And yet, there is a clear rumbling of growth and evolution in the Archspire camp. Rather than openly go out of their way to crank all the knobs from 11 to 12, Too Fast to Die puts heavy stock on pathos-riddled melody, with a heavier leaning on atmospheric theatrics and amphitheater-ready harmonies which don’t seek to overwhelm as much as invigorate and inspire. Album highlight “Carrion Ladder” features a midsection with a pair of leads so relatively simple a fledgling guitar student could learn to play them, yet thanks to the band’s compositional mastery, this simplicity isn’t an anticlimactic letdown as much as a genuine moment of appreciable, raw beauty, not to mention it features one of Oliver’s catchiest vocal parts. Such moments are littered throughout the album, with the borderline emotional chug section of “Limb of Leviticus” transitioning into the band’s traditional plucked interludes with melancholy rather than neo-classical sheen. Archspire’s interludes in older albums would have sounded just as appropriate if played by harpsichord as much as guitar, but Too Fast to Die eschews just a touch of that dual identity to place a heavier focus on thematic coherence with massive dividends.
Nevertheless, this is still a death metal record, and any gushing over emotive power and atmospheric bombast shouldn’t frighten away fans. “Liminal Cypher” features an absolutely devastating slamming section, and “Deadbolt the Backward” briefly dispenses with the atmospheres and opts for sudden shifts of waltz time signatures and straightforward brutality akin to Deeds of Flesh covering an Origin song. The most tendinitis-inducing of leads kick down your front door in “Anomalous Descent” only to suddenly shift identities and flirt with the briefest of hardcore stylings while putting an exclamation point on the proceedings with honest-to-goodness gang vocals. Somehow, this works. While Archspire haven’t quite gone prog on us with clean vocals and a litany of guest instruments (thank God), it’s delightful to see them stretching their artistic wings in so many directions and skillsets, despite promotional material perhaps pitching them as a one-trick pony of speed.
I haven’t been as high on Archspire as some of my colleagues. I enjoyed them, but felt such a style could only be mined so much. Too Fast to Die is Archspire commanding me to take those opinions and violate myself with them, track after track after track. This album sees the band embracing their not-so-newfound star status and offering an experience that is riddled with crowd-engaging moments, meticulously engineered pit fodder, and leads of such beauty that you could sing them in the shower, without sacrificing an ounce of the Africanized-bees-on-red-bull songwriting backbone. “Where do they go from here?” I wondered? Well, the answer is “bigger and better”, and if we are entering a new era of grandiosity over raw technique, I’m so here for it. You should be, too.
Rating: 4.0/5.0
#2026 #40 #Apr26 #Archspire #Atilla #CanadianMetal #DeedsOfFlesh #Inferi #Origin #Review #Reviews #SelfRelase #Techdeath #TooFastToDie
DR: NA | Format Reviewed: Yet another stream, come on, guys
Label: Self-release
Website: Album Bandcamp
Releases Worldwide: April 10th, 2026 -
Archspire – Too Fast to Die Review By Alekhines GunAfter no less than three albums’ worth of glowing praise from my great predecessor Kronos, it’s safe to say that a new Archspire is a big deal in the hall.1 One blistering offering after another has cemented these lads as among the forerunners of tech-death, pushing BPM and bass-string structural integrity in equal measure. But the human body, alas, has limits, and with previous release Bleed the Future already pushing the speedometer well into the red, one could be forgiven for invoking the oldest of clichés: Where do they go from here? There’s only so much speed, so much scale wankery to be derived from mere flesh and bone. With a bit of a self-referential title in Too Fast to Die, Archspire have made their mission statement clear and concise; will their meteoric rise continue to light up the sky, or will their first independent release see them crash and burn?
Archspire have officially been around long enough to say “Expect the expected.” Too Fast to Die continues the band’s whirlwind musical trajectory, with an emphasis on scorching tempos and arpeggios delivered at string-withering pace. New drummer Spence Moore (formerly of Inferi, among others) plays like the lives of his family depend on it, etching his identity into the music with a smorgasbord of snare fills and delightful rhythmic shifts which somehow manage to maintain a blasting pace without ever smearing together into one double-bass-filled haze. Vocalist Oliver Aleron continues to sound pulled from an alternate universe where Atilla doesn’t suck,2 spitting syllable-heavy diatribes with gleeful abandon and an s-tier talent for phrasing which lets him compliment the intensity rather than overwhelm it. Enough breathing room is given to the bass, letting Jared Smith fill in the cracks with sweeps that rumble and clang under the chords with vibrancy and potent kinetic energy (“Red Goliath”) before disappearing back under the assault. Everything is excellently executed, engaging, and familiar.
Too Fast to Die by Archspire
And yet, there is a clear rumbling of growth and evolution in the Archspire camp. Rather than openly go out of their way to crank all the knobs from 11 to 12, Too Fast to Die puts heavy stock on pathos-riddled melody, with a heavier leaning on atmospheric theatrics and amphitheater-ready harmonies which don’t seek to overwhelm as much as invigorate and inspire. Album highlight “Carrion Ladder” features a midsection with a pair of leads so relatively simple a fledgling guitar student could learn to play them, yet thanks to the band’s compositional mastery, this simplicity isn’t an anticlimactic letdown as much as a genuine moment of appreciable, raw beauty, not to mention it features one of Oliver’s catchiest vocal parts. Such moments are littered throughout the album, with the borderline emotional chug section of “Limb of Leviticus” transitioning into the band’s traditional plucked interludes with melancholy rather than neo-classical sheen. Archspire’s interludes in older albums would have sounded just as appropriate if played by harpsichord as much as guitar, but Too Fast to Die eschews just a touch of that dual identity to place a heavier focus on thematic coherence with massive dividends.
Nevertheless, this is still a death metal record, and any gushing over emotive power and atmospheric bombast shouldn’t frighten away fans. “Liminal Cypher” features an absolutely devastating slamming section, and “Deadbolt the Backward” briefly dispenses with the atmospheres and opts for sudden shifts of waltz time signatures and straightforward brutality akin to Deeds of Flesh covering an Origin song. The most tendinitis-inducing of leads kick down your front door in “Anomalous Descent” only to suddenly shift identities and flirt with the briefest of hardcore stylings while putting an exclamation point on the proceedings with honest-to-goodness gang vocals. Somehow, this works. While Archspire haven’t quite gone prog on us with clean vocals and a litany of guest instruments (thank God), it’s delightful to see them stretching their artistic wings in so many directions and skillsets, despite promotional material perhaps pitching them as a one-trick pony of speed.
I haven’t been as high on Archspire as some of my colleagues. I enjoyed them, but felt such a style could only be mined so much. Too Fast to Die is Archspire commanding me to take those opinions and violate myself with them, track after track after track. This album sees the band embracing their not-so-newfound star status and offering an experience that is riddled with crowd-engaging moments, meticulously engineered pit fodder, and leads of such beauty that you could sing them in the shower, without sacrificing an ounce of the Africanized-bees-on-red-bull songwriting backbone. “Where do they go from here?” I wondered? Well, the answer is “bigger and better”, and if we are entering a new era of grandiosity over raw technique, I’m so here for it. You should be, too.
Rating: 4.0/5.0
#2026 #40 #Apr26 #Archspire #Atilla #CanadianMetal #DeedsOfFlesh #Inferi #Origin #Review #Reviews #SelfRelase #Techdeath #TooFastToDie
DR: NA | Format Reviewed: Yet another stream, come on, guys
Label: Self-release
Website: Album Bandcamp
Releases Worldwide: April 10th, 2026 -
The Bare Face as Radical Act
Something changed in the relationship between women and makeup, and the change happened in public. For decades, the beauty industry sold women an escalating arms race of coverage, contour, and correction, with each season demanding new products to fix problems most people never knew they had. The reversal now underway is striking for its specificity: women with access to every cosmetic resource on earth are choosing, on camera and at major events, to show up with nothing on their faces at all.
This is the Bare-Face Movement of 2026, and it carries more cultural weight than its predecessors. The “no-makeup makeup” phase of the early 2020s was, in retrospect, a half-measure. That trend still required product: a tinted moisturizer here, a lash tint there, a careful application of concealer designed to look like the absence of concealer. The goal was the appearance of effortlessness, which is a different thing from actual effortlessness. What separates the current moment is that the product is gone. The face is the face.
Pamela Anderson brought this into focus with a single decision. When she appeared at Paris Fashion Week in 2023 without makeup, the response was so disproportionately large that it revealed how unusual the choice still was. Anderson, who spent decades as one of the most cosmetically constructed images in American celebrity, simply stopped. She told the Today show in 2024 that her reasoning was practical: rather than spending hours in a makeup chair, she went sightseeing in Paris. The deeper rationale surfaced later. She told Harper’s Bazaar in 2025 that she understood self-acceptance as a form of freedom. By March 2026, Anderson was fronting Aerie’s “100% Real” campaign, a national advertising effort built around the explicit rejection of both retouching and generative imagery. Anderson delivers the campaign’s tagline in a spot where she grows frustrated trying to prompt an image generator into producing something human. Her line lands with blunt force: “You can’t prompt this.” Aerie reported a 23 percent increase in sales during the fourth quarter of 2025, following the campaign’s initial October launch. The market, it turns out, will pay for the unmediated face.
The Anderson example matters because of trajectory. Here is a woman whose public image was, for thirty years, synonymous with a specific kind of maximalist beauty construction. Her decision to abandon that construction is legible as autobiography: she is rewriting the terms under which she is seen. A reasonable objection arises here: Anderson’s bare face is itself a brand now, and her Aerie partnership proves it has commercial value. The performance has shifted registers, from selling glamour to selling its absence. That objection has force, but it misses the structural change. Anderson’s earlier image required the beauty industry’s full apparatus to maintain. Her current image requires its withdrawal. Even if the motive is partly commercial, the direction of the transaction has reversed: instead of buying products to construct a face, the audience is buying a product because the face is unconstructed. That distinction matters.
Which brings us to Sydney Sweeney, whose February 2026 no-makeup photo ignited a polarized online response that proved, by its own heat, how fragile the permission structure around female appearance remains. Sweeney, known for the high-glam aesthetic of her Euphoria work and red carpet appearances, posted an unfiltered image that drew both praise and vicious criticism. The backlash was instructive. Some commenters treated the photo as a kind of betrayal, as though Sweeney had broken a contract by looking like a person rather than a production. The defenders, meanwhile, pointed out the obvious: a woman photographed without cosmetic enhancement is simply a woman photographed. The intensity of the debate confirmed that even among audiences who claim to want authenticity, seeing it can produce discomfort.
Rhea Ripley offers a third angle on the same question. In professional wrestling, makeup functions as literal costume. Ripley’s in-ring persona, “The Nightmare,” depends on black lipstick, heavy eye makeup, and a deliberately theatrical presentation that signals dominance. Out of the ring, Ripley shares unfiltered gym photos and behind-the-scenes content that shows a different person entirely. She has spoken about how Ruby Riott gave her the confidence to experiment with her presentation in the first place. The contrast between Ripley’s character and her unadorned face makes visible something the bare-face movement keeps arguing: that cosmetic presentation is a choice, a performance, an act of deliberate construction. A skeptic might dismiss this example on the grounds that wrestling makeup is obviously costume, so removing it carries no cultural weight. That objection underestimates the point. Most women’s daily makeup routines are also costume; the difference is that the routine is so normalized that the costume becomes invisible. Ripley, by making the costume explicit and then visibly removing it, dramatizes a process that happens in millions of bathrooms every night without anyone calling it what it is. When you can see the costume come off, the costume stops looking mandatory.
These three women arrive at the same cultural intersection from different directions. Anderson comes from legacy celebrity, Sweeney from the Instagram-era fame apparatus, Ripley from a performance art form where appearance is explicitly theatrical. Their convergence on the bare face is what makes this a trend rather than an anecdote.
Naming the convergence, however, requires acknowledging what the three examples share beyond their choice: all three are white. The bare-face movement, if it is a movement and not a marketing moment, must account for the fact that the relationship between skin, cosmetics, and social permission differs across racial lines. For Black women, the decision to appear unadorned in public intersects with a longer and more punishing history. The natural hair movement, which began gathering force in the 2010s and gained legislative protection through the CROWN Act in 2019, was an earlier iteration of the same refusal: the refusal to chemically alter a natural feature in order to meet a Eurocentric standard of professional acceptability. Hair came first because hair was the site of the most visible policing. The face is a second front in the same campaign. Lupita Nyong’o has been open about her preference for minimal cosmetics, telling Glamour that she worked hard to feel beautiful in her natural skin and did not want to depend on makeup for that feeling. That statement carries different weight coming from a dark-skinned Kenyan-born actress in an industry where, as a Vanity Fair controversy made plain, Black women are still photographed with less makeup and worse lighting than their white counterparts, then criticized for how they look in the resulting images. The bare face, for a woman like Nyong’o, operates in a double bind: she can be praised for authenticity or punished for failing to meet a beauty standard that was never designed for her in the first place. The CROWN Act protects hair. Nothing protects the face.
The global beauty industry complicates the picture further. In East Asia, the multi-step skincare routine popularized by Korean and Japanese beauty brands spent the last decade selling “glass skin” and “honey skin” as achievable goals, naturalness as the product of elaborate intervention. The bare-face movement in that context reads as an inversion: the same cultures that built an industry around achieving the appearance of perfect bare skin are now watching Western celebrities claim the bare face as a liberation from product. The irony is structural. K-beauty was already marketing “no-makeup” results through ten or twelve product steps before Pamela Anderson walked into Paris Fashion Week without foundation. What has changed is the willingness to stop pretending that the bare look requires a routine. The current Western movement says the face can just be a face, but it says so from a position of economic privilege that mirrors the privilege embedded in the K-beauty regimen: both require resources most women lack, whether those resources are a dermatologist’s prescription pad or a twelve-product bathroom shelf. For Latina women, the calculus involves a separate set of cultural expectations around femininity, presentation, and arreglo, the expectation of being “put together,” that carries familial and generational weight beyond anything the commercial beauty industry can claim. The bare face disrupts different norms depending on whose face it is, and any honest account of this movement has to say so.
The fashion industry has ratified the shift. At the Spring/Summer 2026 shows, heavy foundation receded across multiple major houses. At The Row, Toteme, and Jil Sander, models wore skin that appeared hydrated and lightly corrected but never masked. Chloe’s lead makeup artist, Yadim Carranza, built looks around a dewy, almost damp quality, using minimal product to let texture show through. The approach at Dior, Loewe, and Schiaparelli followed a similar principle: luminous complexion as the base, with interest generated by a single feature, whether a matte lip or a sculptural eye, rather than by total-surface coverage. Visible skin has become the point on the runway, treated as an aesthetic asset rather than a surface to be concealed.
Two forces are accelerating this. The first is the saturation of generated imagery. As brands including H&M, Mango, and more recently Gucci and Prada have experimented with synthetic faces in campaigns, the cultural response has grown hostile. Gucci’s Spring/Summer 2026 campaign, which used imagery created by artist Jordan Wolfson, drew sharp backlash online. In an environment where any face on a screen might be fabricated, a real face with pores and texture and asymmetry becomes a marker of provenance. The bare face is proof of origin. This is the context for Aerie’s explicit anti-generation pledge, and it explains why the pledge performed so well commercially: consumers are treating the human face as a scarce good.
A second force is the economic reorientation of the beauty industry toward skincare. The “no-makeup” celebrity face of 2026 is, in most cases, a face maintained by expensive dermatological intervention: prescription retinoids, professional-grade peels, LED therapy, injectable hydration. The bare face is bare of makeup, but it is saturated with treatment. This creates a paradox the movement has not yet resolved. The women leading this trend have access to skincare resources that most people cannot afford. Anderson has her own skincare line, Sonsie. Sweeney’s complexion is maintained by a professional team. The freedom to go without makeup is, at present, correlated with the ability to pay for the skin that makes going without makeup look good. The movement liberates the face from one set of products while remaining dependent on another.
That paradox clarifies the limits of the shift without invalidating it. For the woman buying drugstore foundation because her skin shows fatigue, stress, or age in ways that carry professional consequences, the bare-face movement offers inspiration more than it offers permission. The social costs of going without makeup are not distributed equally. They fall harder on women in service industries, women over fifty, women whose skin does not conform to the narrow range of “good skin” that the movement implicitly valorizes. The celebrities leading this charge can afford the consequences of their choice in a way that a bank teller or a teacher cannot.
Still, something has moved. A major national brand built a campaign around the refusal of cosmetic artifice, and the campaign worked, which suggests that the audience for unmediated appearance is real and growing. Paris Fashion Week sent models down runways with visible freckles and unpowdered texture, signaling that the industry’s tastemakers are adjusting their baseline. An audience reacted with fury to a young actress’s bare face, which suggests that the old expectations still have teeth, and also that they are now contested in a way they were not five years ago.
The bare face in 2026 functions as a kind of counter-signal. In an economy flooded with synthetic perfection, imperfection becomes a luxury. In a media landscape saturated with filters, the unfiltered becomes a statement. The question is whether this counter-signal can survive its own success. If bare skin becomes the new standard, the industry will find ways to sell products that achieve “bare skin” the way it once sold products that achieved “no-makeup makeup.” The cycle has a gravitational pull that individual gestures of refusal cannot easily escape.
For now, though, the gesture matters. Anderson standing before a camera at fifty-eight with nothing on her face asserts the right to age in public. Sweeney posting an unvarnished photo and absorbing the backlash reveals the cost of being seen as you are. Ripley washing off her war paint and sharing the result collapses the distance between persona and person. Nyong’o refusing to depend on makeup for a feeling of beauty extends a refusal that Black women have been making, with less applause and higher stakes, for generations. A Korean woman skipping her twelve-step routine and a Latina woman leaving the house sin arreglo are making the same argument in languages the English-speaking beauty press has barely learned to hear. These are small acts, individually. Together, they describe something larger than a trend and more fractured than a movement: a global, uneven, unevenly rewarded renegotiation of what the world is allowed to demand from a woman’s face.
#asian #beauty #black #concealer #fashion #hair #industry #korean #makeup #natural #photograph #relationship #runway #sinArreglo #women