Author: studiobypines

Las Vegas Swimwear Fashion Week made a splash at Resorts Zouks nightclub from August 15th to 19th, marking Art Hearts Fashion’s first foray into the city after successful runs in NYC, LA, and Miami. The four-day event kicked off with a vibrant party on Thursday, leading into a weekend packed with runway shows that celebrated creativity in swimwear.

Airstream, the iconic travel trailer brand, turned heads with its debut apparel collection, while the Las Vegas Autism Pride Center added a heartfelt touch with a runway show and a performance by the girl group 4th Impact. The energy peaked on Sunday when Macy Gray took the stage in a stunning floor-length, tulle ruffle-trimmed gown, delivering a performance that was as memorable as the fashion itself.

With 24 designers showcasing everything from avant-garde looks to classic swimwear styles, the event underscored Las Vegas’ rising status as a fashion hub. This wasn’t just a week of swimwear; it was a statement—Las Vegas is ready to take its place on the global fashion stage.

Sharnelguy

Vegas-bred and Los Angeles based Sharnelguy’s runway opened with a two-toned bikini and arm warmers, styled with a wide brimmed black bowler hat and statement beaded necklace. The first four looks were in tie dye camouflage print, followed by plums, lavender, sage and brown. Guy favors classic, clean, basic designs. The deep fuschia women’s one piece featured a deep notched neckline detail that would be lovely to see explored further in future collections. The cargo short-style men’s swim trunks are also robust conceptually.

Pink Mellon

Miami brand Pink Melon presented a bright avant garde runway experience, complete with bedazzled starfish bras, bedazzled watermelon boogie boards, and bedazzled oversized money bags as accessories. The brand also showed more streamlined monochrome looks with low slung mesh pants— bedazzled at the bottom edge, of course— layered over their classic super high-cut one piece suits. Royal blue, teal, silver, red, and pink dotted the stage in addition to black, white and taupe. Something for everyone.

Love For Upcycling

Channeling sustainability, Love for Upcycling showed 34 looks constructed with reworked men’s ties. Silhouettes ranged from patchwork one pieces to vest tops and bandeaus. An especially successful use was the application of the tie as a trompe l’oeil belt, a motif we see repeated throughout the collection. The collection was full of vibrant colors that designers Jose Alexzander and Lilia Merchan chose to accompany and contrast the busy tie patterns. There was an especially eye-catching umbrella canopy composed entirely of ties.

David Tupaz

Vegas native couturier David Tupaz’s swim week was a feast of herringbone. The extremely cohesive collection was an elaboration on pattern: sailor stripes, plaid, herringbone, pinstripe— variegated and geometric, blown up and scaled down, tilted and spliced together. Pencil skirts and matching suits— even a matching Chanel-inspired piped duo— along with the occasional flowing maxi length stalked the runway. Exuding an almost old-school chic, no model was complete without an oversized rattan sun hat (in a variety of black-and-white blocks) and oversized matching sunnies.

Mister Triple X

LA based customs brand Mister Triple X focused on a sexy and powerful image through the use of mesh, leather, ultra high cut briefs for men and power suits for women. Reflective materials and animal print patterns were also in use. Some looks evoked rave and clubwear with black mesh and eclectic patchwork while others had a more casual loungewear feel. One capri length sequin skirt shown on a shirtless male model was quite dazzling. Designer Erik Rosete is also president of the producing organization Art Hearts Fashion.

Giannina Azar

Celebrity favorite label Giannina Azar showed a flamboyant and whimsical collection focused on botanical prints. Her signature beading served as delightful jewels, texturizing bikini tops, framing basque-style waist bands, dangling as oversized strands of trim, as well as weaving the entire surface of one fitted maxi skirt, resplendent in its geometry. The show opened with softer tones of cream and pastel before dancing its way into joyous and rich hues of cerulean, lemon, verdant, and sky.

For The Stars

Headed by John Meir, design house For The Stars is exactly as described. Championing intricate and breathtaking sculptural costumes for performers and artists, the house stands erected (open by appointment only) on melrose ave in la. Their runway at Las Vegas swim week opens with a series of leather-jackets, sharply tailored and well-adorned, before a short transitional cutout catsuit that takes us to the gleaming heights of theatrical, extended tendril collars, eagle head armored plate shoulders, floor length golden fringe and twin dragons.

Airstream

Airstream, the American company world renowned for producing rounded, gleaming chrome trailers for traveling, has made its first foray into apparel for the runway. Designers Haffner and Bonita Segall had about one month to put together the 33 look collection. Prominently featured are a metallic silver fabric, a black and white collage print of vintage airstream photographs, logo tees, licensed snoopy and charlie brown motifs, and plastic miniature dogs carried down the runway as accessories.

Existing in the gap between cultures, generations, and attitudes, 25 year old Rupal Banerjee felt the calling to forge her namesake casual high fashion brand: Ru by Rupal. In what retrospectively seems like a straight shoot to stardom, Rupal’s journey towards success seemed baked in— from her south asian immigrant background to her induction into Parson’s School of Design and the quick pivot to Public Relations and Marketing, traversing the sartorial spheres of New York and Los Angeles. Despite being a practiced New York Fashion Week constituent and a 30 Under 30 Forbes member, Rupal’s lilting tonality cast an effortlessly warm spell, dispensing advice like an endlessly welcoming older sister.

Heartily established as a quintessential “cool girl” brand and adored by celebrities such as Kali Uchis, Kehlani, Tinashe, and Jordyn Woods, Rupal injects everyday streetwear and casual wear with her specific lens of feminine, commanding attitude. In between conceptualizing a brand statement and establishing the possible energies of the “Ru Girl,” Rupal recounts her year of shifts. Personal changes have a tendency to crowd around twenty-somethings, and Rupal doesn’t emerge from frontal lobe development unscathed. Her fresh experiences of growth and regrouping only become more married to the process of creation as the seasons come and go.

Rupal’s pragmatic business-aware background shines as she pushes the brand forward, showing vibrant mesh minidresses, pleated monochrome maxi gowns, plain and patterned cargo bottoms, matching bomber jackets with tie closures… the Ru-niverse has always spanned on-trend basics and culture-specific design details. In a few years, the brand aesthetic has transformed and stepped out directly into the emboldened spotlight as the brand moves through its gestational first years. Particular brand signatures include chartreuse and blood orange, long form sari pleats, floral mandala motifs, and highly saturated gradient prints. Rupal kindly opens her inner workings as founder, designer, and person; even revealing some upcoming slogan contents I’m not allowed to share. Celebrate in anticipation for the next seasons, and reminisce in wholesomeness for what has come before, with Rupal Banerjee of Ru by Rupal.

You went to Parson’s for fashion design but studied public relations and marketing. Where did you learn how to sew?

Actually it started when my father was making these hand-sewn puppets for a school project of mine— such a wonderfully creative man, though he works as an accountant. Parson’s was a lot about marketing, but everything from designing to patterning to garment construction I picked up on my own, through my internships at bigger brands and by just doing. That’s really key, just going and doing. Executing your dream with intention.

Any favorite or least favorite materials to work with?

Favorite, I’d have to say mesh. It adds such dimension; it’s so malleable and versatile in fit due to its stretch; it turns down the opacity of any loud print or color and makes it more wearable, more approachable.

What do you find special about working in fashion in LA versus in NY?

Definitely driving! Especially for days when I am running around with bolts of fabric, from vendors to meetings to another location… Nothing beats just being able to pick up and go.I’ve for sure found that in LA there can be a prominent culture of superficiality. What you see on Instagram you can also see in people here. There can be such an emphasis on perception, whether it’s femininity or success or even how perfect someone’s smile is. I’m much inclined towards a different kind of dream. I’ve had a very special last year, invigorating for personal growth and changes, both trying and inspiring. I’ve been getting back into my spirituality. Things tend to come to me— I’m on an “I-love-you”-basis with all of my vendors, they really get it and love the pieces that they’re making, so every article is made with love from inception to delivery. I believe you attract things with the same beautiful intentions by being the beauty— beauty of the soul.

What’s your ultimate dream job?

Creative director. For a major house or maybe a sportswear brand. I have strong leadership skills, and what I love doing most is bringing a vision to life. I just launched a graphic design agency for this reason! Not many people know about these other things that I do.

I’m very driven by the concept of “What’s your purpose?”… I’ve been thinking a lot about it and I’ve realized I want my brand to be the ultimate “cool girl” brand— there’s all this pressure for women to dress a certain way, to perform a certain kind of femininity, but also retain independence, but not act too independent, but not be a gold digger, and all this stuff that we’re supposed to care about, when really— you don’t have to care. This is for you, you can wear whatever you want, whatever you think is cool.

What are the most exciting aspects of your next collection?

There are some pieces that are pretty specific to me and my experiences, but that respond and interact with the zeitgeist in a way that is playful and powerful. I can’t share too much on that yet! But it’s always sharing more parts of myself. Personal aspects— culture, silhouettes, spirit— it’s all pieces of me.

Exciting news is on the way, and we can’t wait to share it with you! Stay tuned for something special that’s just around the corner.

Charli XCX’s “Brat” album rollout has fully resurrected indie sleaze. Every party feels like an episode of “Skins”, each Boiler Room set hints at a remix record, and the prophetization of the Brooklyn “Brat” wall was beyond gay (read: “clever”). As the dance chanteuse stated herself, “Brat” summer isn’t over yet, dishing out culture-setting guest features with Lorde and Billie Eilish, and even prompting a left-field (and successful) endorsement in Democratic nominee Kamala Harris’s last-minute presidential campaign.

There’s no doubt that Charli XCX is the moment, but other artists certainly lived the “Brat” life before its iconization. Britney Spears is, undoubtedly, the OG “Brat” and even received a special remix of her will.i.am collaboration “MIND YOUR BUSINESS” at Charli’s 2023 FWB Fest set with PC Music’s A.G. Cook. Charli’s contemporaries Kim Petras and Slayyyter, who originally played in the Hyperpop sandbox, also attended the popstar academy for mainstream success. However, just like nightclub natives Rivern Moon, Chase Icon, and That Kid, creating provocative off-kilter bangers like “10 BAD BITCHES” or “James Dean” is in their blood.

“Brat” is also a huge win for the subculture, spotlighting under-the-radar internet folk whose Instagram “it” factor matches their digitally-obsessed productions, like Miss Madeline’s “OMG” and Chrissy Chlapecka’s “I’m Really Pretty”. In the same way, umru’s PC Music background offers a brief glimpse into his turntable dexterity, but when he shows up in the producer credits like “Firetruck (umru Remix)”, he raises the ordinary to extraordinary. The international entries are no joke either, but no one touches Ninajirichi’s electronic Midas touch– well, except for Izzy Camina, who certainly matches her DJ freak with the sweat-tastic collaboration “Ninacamina”.

Ahead are club bangers from Britney Spears, Kim Petras, Slayyyter and more that would receive the “Brat” stamp-of-approval from Charli XCX.

“10 BAD BITCHES” by River Moon, Chase Icon & That Kid (feat. Petal Supply, Warpstr, umru & Iglooghost)

The second single from River Moon’s debut album is a hyperpop Battle Royale from start to finish. But with Pedal Supply, Warpstr, umru and Iglooghost infusing the production with laser synths and bombastic bass, this rave banger’s sexually charged lyrics easily translate into a Mean Girls-esque “You can’t sit with us!”

“Ninacamina” by Ninajirachi & Izzy Camina

Electronic music never sounded better than on Ninajirachi’s turntable. For this “girl EDM” cut, the 24-year-old Australian teams up with the cyberpunk Britney Spears, aka Izzy Camina, with an ice-cold trance collaboration that slaves clubgoers to the dancefloor. “Ninacamina” perfectly cements their blended identity into a future classic.

“Firetruck (umru Remix)” by f5ve & umru

Described as “inter-dimensional dream agents from Tokyo”, f5ve is a five-member female J-pop group with a sweet tooth for the unexpected. Already, the group’s production easily passes experimental. However, New York producer umru– a hyperpop talisman– recharges the original two-minute duration of “Firetruck” with a high-energy tempo that nearly bursts at the seams for the remix– and it’s straight fire!

“Accelerator” by Blusher

According to the Australian pop trio, “‘Accelerator’ feels like Blusher with the saturation turned up to 200%”. They also described the single as a “big-budget action movie” and “James Bond in drag”, but really the track is a late-night car chase, holstered by revving engines, techno-inspired verses, and a detonator chorus. “Accelerator” is a rare gem of when absurd pop becomes commercial without sonic compromise.

“Optifine” by gabby start

Gabby start is the new persona under artist Gabriel O’Leary, formerly Knapsack, and his production wizardry is only getting better. “Optifine” is the epitome of Gabby’s metamorphosis: digitally articulate and deliciously proficient in Hyperpop– to the point where the track’s digital dubstep flourishes into an electronic trap without a hiccup.

“Really Hot” by Babymorocco

UK stud Babymorocco takes the artist’s narcissistic “himbo” persona through some neon-tinted electronic pulses on “Really Hot”– a track armed with juicy muscles, pretty girls and a thrumming bassline.

“James Dean” by Slayyyter

“I heard your new song and, bitch, it’s not giving!” Slayyyter rages on the deluxe track. Tinged with an old-Holywood aroma a la burned synths and backroom pop soirees, the Missouri native launches A-list disses throughout her sophomore album, but the strobe-like adrenaline of “James Dean” puts the pedal to the metal for bratty behavior.

“Drums” by James Hype and Kim Petras

“Unholy” singer Kim Petras trades her bubblegum pop prowess for some dancefloor sweat on UK producer James Hype’s latest heart-racing anthem. The electro-pop track’s shimmery house influence, supported by Petras’s coquettish vocals, bonafide the unorthodox sample of Justin Timberlake’s 2002 classic “Like I Love You” into a new-age party starter.

“OMG” by Miss Madeline

Internet hustler Miss Madeline’s forte is Myspace-core music, McBling’d with Lady Gaga’s “The Fame” and Britney Spears’s “Circus”, a vibe perfected by New York City nightlife– and her latest zinger, “OMG”, is one to beat, There’s simply no shortage of iconic behavior; the IM-coded tell-all is riddled with Manhattan locations and TMI shenanigans that just “keeps getting bitcher”, as the autotuned New Jersey diva proclaims.

“HATE YOUR GUTS” by INJI

INJI isn’t an obvious choice, but the UK visionary makes music “you can scream along to”. Enter the sparkly glitch of “HATE YOUR GUTS”, a straightforward post-breakup explosion after years of tongue-biting. Clubgoers usually expect the unexpected from their night-out soundtrack. However, the pop track’s standard melodic structure offers a repetition that makes every repeating phrase another excuse to be a bit bratty and unapologetically blunt– even if it’s reciting lyrics, you wish it were real.

“MIND YOUR BUSINESS” by will.i.am & Britney Spears

Today’s scene loves to reference; Britney Spears is the reference. It’s only right that Charli’s forever icon makes the list, partnered with none other than Black Eyed Peas’s will.i.am– another pop aficionado– with a super slick “hot girl” anthem. Even though “MIND YOUR BUSINESS” is technically the younger sister to “Piece Of Me”, the former is a revised archive masterpiece with witty paparazzi call-outs, addictive raspy vocals, and a heavy-handed foresight into the future of club music.

“I’m Really Pretty” by Chrissy Chlapecka

“They look at me and think that I’m so hot. […]I’m not just hot, I’m… I’m really pretty, you wanna kiss me,” Chrissy Chlapecka, resident pop connoisseur of “bimbo” music, whines on the hot-tempered single from her equally flamboyant debut EP, “Girlie Pop”. Chlapecka is another instance of an unexpected entry: the truth is Chlapecka’s bubblegum fantasy is barbed with enough steely production that her pouty lips and doll-like enunciation are deadly a combination for fun.

August isn’t the end of summer. If anything, movies are finally heating up, and filmmakers are releasing their edgiest stories yet. Though Marvel movies are box office gold, the campy alien world of “Borderlands” is just as deserving, considering its A-list cast, helmed by Cate Blanchett. Colleen Hoover’s hotly-anticipated film adaptation of “This Ends With Us” is finally hitting theaters later this month with Blake Lively, who will likely repopularize steamy romance with this New York Times bestseller. While M. Night Shyamalan’s “Trap” forms a psychological horror around the superstardom of Taylor Swift, Zoë Kravitz’s directorial debut on a private island is a living nightmare in the best way possible.

Then, “Euphoria” star Hunter Schafer tries “final girl” fashion with her intense performance in Tilman Singer’s “Cuckoo,” and Bill Skarsgård and FKA Twigs are star-crossed lovers on Rupert Sanders’s dark fantasy “The Crow.” Meanwhile, classic franchises like “Alien” are being revived with new twists, as seen in the latest entry, “Alien: Romelous.” Ahead, don’t miss out on these films (and more) hitting theaters this August!

It Ends With Us

Releases on August 9

Blake Lively (“Gossip Girl,” “The Age of Adaline”) returns to the big screen for what’s to be the summer’s hottest romance yet. Based on the novel by Colleen Hoover, Lily Bloom (Lively) overcomes a traumatic childhood to chase her wildest dreams in Boston. However, the spark between her and neurosurgeon Ryle Kincaid (Justin Baldoni) quickly pales her past hurt, including her first love, Atlas Corrigan (Brandon Sklenar), reenters her life. Will Lily succumb to her old wounds or pursue a love that blinds her future?

Borderlands

Releases on August 9

When Academy Award winner Cate Blanchett (“Tár,” “Carol”) takes a step outside drama films, we must step inside theaters. Based on the popular looter-shooter video game of the same name, director Eli Roth assembles an all-star cast — including Blanchett, Kevin Hart, Jamie Lee Curtis, Ariana Greenblatt, and Jack Black — to breathe life into a ragtag team of misfits on a mission to save a missing girl who holds the key to unimaginable power.

Cuckoo

Releases on August 9

While Hunter Schafer slays the fashion game, “Cuckoo” sees the actress whisked away to the German Alps in what’s supposed to be a peaceful restart. Instead, the “Euphoria” stars as a death-defying final girl– who only gets bloodier the longer the movie progresses– fighting against a bizarre figure with only a Swiss-blade knife. Who is the perpetrator, exactly? Even she isn’t sure.

Close to You

Releases on August 16

Academy Award nominee Elliot Page (“Juno,” “The Umbrella Academy”) stars as a trans man who returns to his hometown for the first time in years. On his journey, he confronts his relationship with his family, reunites with his first love, and discovers a newfound confidence in himself.

Alien: Romulus

Releases on August 16

In the newest “Alien” installment, horror director Fede Alvarez revives Dan O’Bannon and Ronald Shusett’s original characters in this space nightmare. Starring Hollywood’s buzziest actress Cailee Spaeny (“Priscilla”), a group of young space colonizers come face to face with the franchise’s iconic terror.

Blink Twice

Releases on August 23

In this island horror, Zoë Kravitz marks her directorial debut by enlisting Channing Tatum (“Magic Mike”) as a tech billionaire with a freak camera. When the wealthy and smitten Slater King (Tatum) invites cocktail waitress Frida (Naomi Ackie) to his private island on a dream vacation with friends, something is clearly wrong with the getaway. Slowly, the paradise’s wild nights start blending into sun-soaked days, and partying vacationers start disappearing as Frida’s suspicions bubble. Frida will have to uncover the truth if she wants to make it out of this party alive.

The Crow

Releases on August 23

Filmmaker Rupert Sanders (“Snow White and the Huntsman”) returns to big-budget productions for the first time in seven years, following 2017’s “Ghost In The Shell,” for this Bill Skarsgård-led fantasy. Instead of “It” clown prosthetics, the Swedish actor portrays a tatted demon-slaying assailant on a mission to save his true love, played by FKA Twigs in her first leading role.

Since the release of 2022’s “Munch (Feelin’ U),” Ice Spice’s raucous Bronx energy has been a perfect segway to more “build-a-baddie” anthems, or sexy theme songs that hype up the club, NY deli, and places Ice has no problem turning into her personal dancefloor. “Like..?,” the 2023 EP that followed, then saw the drill rapstress accumulate over 2.5 billion streams with the addition of singles “In Ha Mood” and a number of “Princess Diana” variants, notably powered by Nicki Minaj. What makes up the 24-year-old’s latest project, however, titled “Y2K!,” feels like a long cry away from what The New York Times once characterized as a “sharpshooter flow.”

For Spice, “Y2K!” seems to be a representation of the new Big Apple — a torch toward a new freedom for the Grammy-nominated rapper — One that’s hater-free, aggressive, and anti-“Actin’ a Smoochie.” Still, an album requires more than fake graffiti and an unrealized 2002 Sean Paul sample to reignite a Spice-ified Y2K experience. Instead, the project proves to lack even a college-grade thesaurus, and mistakenly rests on two-year-old Spice-isms that even make go-to producer RiotUSA’s addictive beats sound fatigued.

The most exciting elements to Spice’s “Y2K!” don’t lie in the record’s singles, its infidelity anthem “Did It First” with UK playboy Central Cee, nor its viral diss track, “Think U The Shit (Fart).” The gangsta rap roots of New York drill, most recognizable in the rags-to-riches discographies of Tupac, The Notorious B.I.G. and other greats, even converges with co-parent genre trap’s materialistic wealth game. Instead, Ice’s lyrical prowess has a strict lineage of colloquial wordplay (“No Clarity”) and unapologetic call-outs (“Bully Freestyle”). However, the rapper’s use of repetition often bites into her authenticity, namely on “Phat Butt,” a peak Ice Spice track laced with ferocious percussion wherein its braggadocious lyrics eerily mime Minaj instead of a razor-sharp missive to opps.

It’d be naive, however, to expect a lyrical Picasso out of a 24-year-old’s debut record, and remiss not to recognize the inner functions of the new album. After the Bronx native dropped the accompanying music video for “Oh Shhh…”, featuring Travis Scott, in tandem with the album’s Friday release, there was an obvious and predictable top note that the record couldn’t shake. Though Ice twerked her way around CGI butterflies and a form-fitting Statue of Liberty getup, the copy-and-paste lyrics shouldered a rough loss against the Astroworld rapper and ultimately got out-Ice’d altogether by other A-list collaboration, “Bitch I’m Packin’” featuring Gunna. The husky entry gave “Y2K!” some necessary grit, partly due to Gunna’s genius double entendres, but most importantly Ice’s sultry, no-frills cadence– quite the contrast to the artificially grandiose Travis Scott collaboration.

In the same vein, “Y2K!” still holds undersung “party girl” bangers with intentionally “super simple” and “digestible” lyrics, as she told Complex. First, the buzzy snares of “Plenty Sun”, where Ice hypothesizes the future of New York drill music better than past projects with a “son” complex and savvy elixirs a la Minaj. Although “Gimme A Light” underuses Sean Paul’s notorious dancehall sample, the real focus is Ice’s loud self-confidence rather than its tepid Billboard charting. Lastly, wedged between the “Y2K!’s” dance epicenter (“Did It First” and “Fart”), there stands “BB Belt” as a younger sister to 2023’s “Deli”, the perfect middleman between lazy trap and some serious money talk.

Ice Spice’s “Y2K!” doesn’t get everything right, but the culture chose to embrace the record for its artistic declaration, not its lyrical proficiency. In her two-year ascent to superstardom, the female emcee garnered multiple Top 10 Billboard Hot 100 singles, one of which went on to be nominated for the 66th Grammy Awards in the “Best Song Written for Visual Media” and “Best Rap Song” categories (“Barbie World”). Her other Grammy-nominated collaboration (on Taylor Swift’s “Karma”) even parlayed into 12 performances as Doja Cat’s opening act for The Scarlet Tour, which set her up for the Coachella 2024 mainstage. Now, on her own summer 21-show spree promoting “Y2K!” worldwide, the record is already a victory lap (that can be enjoyed with her Dunkin’ signature drink in hand!) But at the same time, “Y2K!” is the official start line of her mainstream career, where all sonic road bumps and creative mishaps are smoothed over before the next music era begins. And as Google’s second most-searched musician of 2023, it’s safe to say that even if “Y2K!” isn’t the best Ice Spice record to exist, the culture will always give her a second chance to redeem herself.

If Towa Bird could ask Joan Jett one thing, she’d ask why the legendary guitarist plays the guitar so low. “Surely that [hand placement] would hurt your wrists,” she tells Beyond The Pines, half-joking. As a rising rockstar herself, Towa finds herself being likened to the iconic ex-The Runaways member in a recent Vogue feature, feeling equal parts gratitude and pressure to live up to the household name. And with the release of her long-awaited debut album, “American Hero,” which introduces a one-of-a-kind new voice in the world of alt-rock/pop, Towa is still finetuning her craft beyond the guitar. “I would ask Joan, ‘How did you make your career so lengthy?” She says, stewing on the question. “‘How did you find success in so many ways throughout so many different periods of your life? How do you pick yourself up after those extreme lows?’”

From her pandemic-era singing TikToks, which caught the attention of the likes of Olivia Rodrigo’s [who subsequently enlisted the “Boomerang” artist for her Disney+ documentary, “Driving Home 2 U (A Sour Film)],” to opening for Reneé Rapp’s “Snow Hard Feelings” tour alongside Alexander 23, Towa’s career continued to skyrocket at full throttle for quite some time. In contrast, the 25-year-old’s latest album “American Hero” slowly formed over a two-year period, Towa says — between shows, during vacation — anywhere. “Start to finish, the album took about two and a half years [to finish],” she says. “It was a long process, because I was figuring out how I wanted to sing, what I wanted to sound like.” She went on to break down the various clippings of inspiration she’d pieced together to conjure up the track — the end result being 35 minutes of high-energy, Y2K nostalgia reminiscent of classic garage-punk, ’90s Britpop, and nostalgic indie-rock, primarily informed by rock classics such as The Beatles’ “Abbey Road” (1969) and Prince’s “Purple Rain” (1984).

However, if Towa’s process is any indication, kicking off a new project often means going pen-first to the notepad to take down an ungodly amount of material in hopes that inspiration strikes. “The first year was me throwing shit at the wall and seeing what stuck — Nothing was solidified yet,” Towa recalls, rubbing her chin in thought. “I probably wrote around 100, maybe 110, songs for [“American Hero”]. From there, I filed it down to the tracklist you see today.”

Bound between 13 tracks featuring previous singles such as her indie-pop golden child debut single “Wild Heart,” the thrilling guitar of “American Hero” fits perfectly into any early 2000s rom-com soundtrack. Upon a closer look, though, the 25-year-old is presenting a new kind of hero to the younger generation.“The name [of this album] is supposed to be entirely satirical. I have no American in me — I’m not from here. I’m actually [in the United States] on a visa,” the Hong Kong-born artist clarifies. Towa split most of her childhood years between Thailand and London, referring to the latter as more of her hometown. “When I think of an American hero, I think of a very white, cis male. Someone very macho and strong, like Captain America, and, clearly, that’s nothing I embody.”

Towa’s “American Hero” brings much-needed vibrancy and spice to a rather repetitive portrait of straight “male gaze-y” romance that oversaturated mainstream music, or at least, the better part of it in recent decades. “In a way, I’m creating a new American hero: someone who’s not from here, who’s queer, biracial, and very proud of my identity.” Through this re-defined superhero mentality, Towa is able to live her truth as a lesbian, navigating queer love in all its confusing emotions, from falling in love with a friend on “Sorry Sorry,” to experiencing imposter syndrome during Paris Fashion Week on “This Isn’t Me.”

However, Towa says for others to inherently delegate her music to a queer audience only simply skims over the need for more mainstream lesbian representation. “I’m just writing about my life. I’m not trying to make queer music. I’m just writing about the people who I’ve fallen in love with, my friends, and my community. There’s not really an agenda,” she states. “There is the flip side to that — I never really had that much lesbian representation growing up. It’s really important that lesbian artists are in the spotlight right now. That makes 14-year-old me really excited and proud to be a part of something bigger.” Towa goes on to express that the shout-along-ready love song album track “Drain Me” is about lesbian sex. Taking a step back, the artist revisits the record’s theme of queer vulnerability, which, she says, was also born out of response to international anti-marriage legislation against homosexuals that made a young Towa feel unseen. “It is important to be that representation for someone, maybe for someone who had a similar upbringing to me, where society doesn’t accept you. But this body of music does.”

“The people who listen to this record, I just want them to be proud of who they are. It’s okay to feel angry, sad, happy, sassy – all the emotions,” she concludes on the album’s main takeaways. “I want people to feel their feels as though their thoughts have been articulated by someone else.”

All familiar hands were on deck for this record’s making, with producers like Luke Niccoli (Carly Rae Jepsen, Gwen Stefani), Thomas Powers of The Naked and Famous, and, most importantly, tour pal Alexander 23 (Rodrigo, Tate McRae). “We shared the same bathroom with each other for two months,” Towa said about life on the road with Alexander during Rapp’s tour. “I could put my arm out, and we would be touching, so we were definitely close and still are close friend. We hang out all the time.”

As no stranger to tour life, which can be as exciting to see a crowd as it is monotonous to ride a bus to the next city every day, Towa makes an effort to soak in the present moment. “Waking up in a new city every day is wildly disorienting, so I try to go on a run every morning and actually see the city to help me acclimate,” she recalls her favorite touring remedies. “After a show, me and the band would also get so drunk. We were on such a rock-and-roll tour.” For Towa Bird, it can only be assumed that as far as tours go, these are only the early days of a long road of opportunity ahead. “It was so much fun trying to fit in Joan Jett’s boots.”

Towa Bird’s debut album, “American Hero”, is out in stores and available on all streaming platforms. For more tour information, visit https://www.towabirdofficial.com/tour.

To conclude Ti West’s bloody “X” saga, fans will see the first installment’s final girl — the kitsch and psychotic Maxine Minx (Mia Goth) — make her way to the City of Angels at long last in the trilogy’s murderous finale, “MaXXXine.” The A24 monolith ditches the western countryside, resurrecting Maxine’s killer instincts as she inches closer to her long-awaited shot at Hollywood stardom. With a star-studded cast including Kevin Bacon, Lily Collins, Michelle Monaghan, Sophie Thatcher, Elizabeth Debicki, Moses Sumney and Halsey, West enlisted the work of costume designer Mari-An Ceo, who notably led the Amazon Prime series “Them” (for which West directed some episodes), and currently helms Peacock’s “Based on a True Story.”

West’s interwoven tales of bygone eras of horror, spiced with the camp factor á la Death The Adamms Family (1991) and Becomes Her (1992), sit in a full-realized echelon of modern contemporary art, since praised by the likes of Stephen King and Martin Scorsese. Now, the final “X” entry takes place years after the fame-seeking lead’s countryside carnage, who finally arrived in Hollywood on the heels of a major film. Though amid the starlet-slaying killer, nicknamed the Night Stalker, a private investigator is forced to unravel Maxine’s sinister past.

Ceo initially admired West’s interpretation of Wizard of Oz in “Pearl”, which led her to the director’s email inbox, pitching the costume direction for his next installment. “I have a lot of film history in my soul, and ‘MaXXXine’ just fell into place for me,” Ceo told Beyond The Pines on a Zoom call from the Universal Studios office in Los Angeles. “For this movie, I was inspired by the Giali filmmaking from the seventies. And it turns out that’s what Ti [West] was into. I had the movie from there and immediately went into it hardcore.”

Bonding over the importance of atmosphere and film literature in filmmaking, the duo agreed to ditch the cliches, avoiding the ’80s denim-on-denim crisis, the leg warmers, and shoulder pads (as much as possible) this time around. Instead, Ceo opted for the more reflective fabrics of ‘80s glam rock, which better compliments the neon lights of Los Angeles streets, with a Blondie-inspired wardrobe specifically for “Maxine ‘freaking’ Minx”, as the deranged character self-proclaimed in the film’s gory trailer.

Ahead, Ceo shares her insight behind the under-represented ‘80s aesthetic for “MaXXXine”, one where she caved to a one-time homage to Reebok shoes, which Goth begged to wear, and found costume inspiration for new characters, especially Kevin Bacon’s Labatt character after several recastings, aesthetic changes, and, most importantly, much-needed size adjustments.

The “Bombshell” Look: Avoiding ‘80s Cliches The Right Way

From the two-minute teaser alone, fans are introduced to a non-leg-warmed ‘80s experience, a rare and smart decision from Ceo. Ceo isn’t anti-cliche, styling Maxine in a double-jean outfit for one scene and sprinkling some shoulder-pad love for Debicki’s character, but ultimately noted that LA still cherished old Hollywood glamor and bombshells as much as they did Aqua-Net. Instead of resurrecting a “Girls Just Wanna Have Fun-ified” Sarah Jessica Parker, the movie took the remnants of late ‘70s punk rock. Its offspring being “glam rock”– a flashy yet smoky undercurrent of the subsequent decade– in the fishnet-and-leather realm of debut Madonna and Cher’s “Turn Back Time.”

The costume designer coined Debby Harry, the lead singer of late-century rock band Blondie, as the main muse for Maxine’s wardrobe, specifically pinpointing her black “revenge” dress as her favorite “MaXXXine” outfit– even though the Michelle Pfeiffer-esque garment is best captured on the movie poster.

“You don’t see the scene much, but the dress was a mature, idyllic version of Maxine. It was something very typical of a 1930s movie premiere,” Ceo tells Beyond The Pines. “That’s one dress that Blondie pretty much wore. It was made from this really beautiful Belgium silk, light as a feather, and beautifully floated around Mia [Goth]. Especially with that red makeup, she looked like Michelle Pfeiffer from ‘Scarface.’” Ceo even pointed out the crossing dress straps formed an “X” along Goth’s back, referencing the namesake trilogy.

New Faces Call For New Inspiration

Ceo has a hard time choosing a favorite character she brought to life, but she did admit the character John Labat was a continuous toss-up until actor Kevin Bacon came along. “They hadn’t cast [the actor to play Labat] yet, so I thought it was a big guy, like Orson Welles in ‘Touch of Evil.’ I kind of went with this guy [for Labat] that doesn’t shower and sleeps in his car wearing a suit.”

Much like West, Ceo is a visual artist. Her character costuming is a mixture of “feeling out” the script, her extensive film literature knowledge, departmental collaboration, and pure soul instincts. Otherwise, West tasks Ceo with a clear-cut vision to execute, as per Sumney’s character Leon. Regardless of the inspiration avenue, all roads lead to famed LA costumes for sample pulls. “I’ll read about Labat [in the script], and say ‘This reminds me of a Jim Thompson novel [from his 1950s detective series]. Then, I went to Western Costume Co. and found this amazing vintage tobacco-stained suit with nicotine smeared all over it. I was going to use it as a sample to make for [a much bigger] Labat. But when they cast Kevin Bacon, the suit fit him perfectly.”

“Look Closely At The Costumes But Pay Attention To The Acting”

From letting Goth break her high-shoe-only memo for a brief Reebok sprint scene, snagging vintage Sergio Valente jeans for Monaghan’s character, to Maxine’s reflective monogrammed bomber jacket that balances out Hollywood’s neon lights, somehow the spot-on research just missed the camera lens.” We don’t see enough of their clothes,” Ceo says in a sarcastic tone. “I’m just going to tell Ti that when I see him in-person again.” [Halsey’s character] Tabby had this tiger dress underneath a fur coat. [Chloe Farnworth’s character] Amber had simple little, amazing clothes like this silk parachute jumper you barely see.” However, Ceo refrained from describing certain characters in detail, afraid of spoiling the killer and eliminating suspects, yet left a two-part clue: the killer is a new character that’s “in the shadows “ for most of the movie. “Look closely at the costumes, but pay attention to the acting. We used the wallpaper a lot,” she adds as a sleuthing antidote.

In her quest for costume appreciation, Ceo found something more: a worthwhile filmmaking experience.“I really wanted ‘MaXXXine’ to feel like it was a period movie from the eighties that wasn’t cliche,” Ceo wrapped up her final thoughts. “When you have the talented Ti, [cinematographer] Eliot Rockett, and top-notch actors[…] I’m just very proud of the movie we ended up doing. Sometimes it doesn’t always pan out that way, but it’s spot on with what Ti intended.”

Megan Thee Stallion has been on a mission to move on since last year. November’s single, “COBRA”, was a novel opportunity to exorcize the gunshot wound, legal battles, online ridicule, and other personal tragedies that clouded the better part of her mainstream domination. Alongside its release, the H-Town Hottie foreshadowed her upcoming era with an elusive statement: “Just as a snake sheds its skin, we must shed our past, over and over again.” However, the rapper’s February Billboard chart-topper, “HISS,” a lucrative attempt to silence Megan’s “one flow” naysayers and industry opps, was ultimately slammed by other rap and hip-hop rivals, leaving her still in what seemed to be an unexpected stillness instead of celebrating a career first. Megan then quietly pushed the subsequent single “BOA,” and announced the inaugural Hot Girl Summer tour without anyone suspecting she had sunk her teeth into some much-needed studio time.

During a performance in Atlanta last month, the Texas native and self-proclaimed Hot Girl Coach announced her self-titled third album and debuted its cover art, which showcases the rap connoisseur’s metamorphosis by way of beautifully cascading from a cocoon (which was promptly substituted for an icky emergence from a snake egg following artwork backlash). On “MEGAN”, the Houston rapper is, indeed, born anew and, unexpectedly out for blood. She wastes no time striking first with album opener “HISS,” but this time backed with 17 additional tracks, including “COBRA” and “BOA,” the venom feels like less of a threat, and more of a promise. The record is a full-fledged takedown, backed by the flirty fun of alter-ego Hot Girl Meg on “Where Them Girls At” and “B.A.S.” (feat. Kyle Richh), girl boss collaborators GloRilla and Victoria Monet, and Shonen Jump anime references on “Otaku Hot Girl.”

It could be it’s her independent label’s innovative licensing agreement with Warner Music Group that gave the “WAP” rapper a much-needed second wind following the lukewarm reception of 2022’s “Traumatize” album. Or perhaps Megan remembered how a Hot Girl handles business, the premier sucker punch being “Rattle,” where she embargos the emblematic one-liner: “Ain’t got no tea on me, this h** think she TMZ.” Where haters fueled her lethal double — even triple entendre — “MEGAN” leaves haters in its rearview mirror, leaving more wordplay for braggadocious self-hype. And as “Mamushi” collaborator, Japanese rapper Yuki Chiba, proves, you can be a star and get to the bag, no matter the amount of “hater-ade.”

It’s a rare sign of rap mercy — One that doesn’t always make the smoothest transitions to sophisticated show-offs like “Figueroa” and “Spin” (feat. Victoria Monet), but Megan’s alter-ego Tina Snow – kin to the gritty resilience of female MC Eve — make it stomachable, especially concerning UKG’s underwhelming verse on “Paper Together.” Instead, Megan shines brightest when matching her own freak with idol Lil Kim-esque soirees on “Moody Girl,” the more Charli XCX “Brat”-coded track “Break His Heart,” and, most importantly, “Down Stairs DJ”.

At a glance, Megan’s junior full-length effort is undeniably certified Hot Girl Summer material — the aggressive delivery of boisterous, sexually liberating lyrics are bound to, in some part, rub off on the listener. In the best (read “booty-shaking promoting”) moments of the project, Megan’s self-confidence is infectious, tangible, and, as most often is the case, has its way of transcending speakers. Sure, a self-titled album is an artist’s white flag, announcing, “This is me!” But, in Hottie world, it’s another day in the sun.

There are no thematic storylines hiding beneath the layers of “MEGAN,” à la Billie Eilish’s newly-released “HIT ME SOFT AND HARD,” yet still, it carries a bit of everything. What’s more, in learning from “Traumatize,” Megan’s latest musical contributions bring back the Southern heat and head-to-toe explicitness, courtesy of fan-favorite alter-egos and real-life angst.

Perhaps the features softened the blow of a 52-minute album listen, but besides Yuki Chiba’s naturally zesty foreign flare, the guest features surprisingly made “MEGAN” less The Stallion, and that may be among the project’s only flaws. Then again — how many can outshine Megan?

The star of the new movie “Latency”, Alexis Ren, recently visited BeyondThePines in Italy where we sat down with her to ask her a few questions about her new movie and upcoming projects.

How did you prepare for the role and what did you learn about yourself during the process?

Every character is different, it’s why I like acting as it feels like a new “me” on every set, but then when I read Jen I realized how similar we are — the best friend in the whole world, the comedic relief in this psychological thriller and she’s super caring and the more she loves you the more she bullies you so this was my first role where I brought all of me to it and it was very satisfying.

Any favorite scene the audience should pay special attention to? (No spoilers!)

There’s two — a beautiful heartfelt scene with me and Sasha, it was a very beautiful moment on set, everyone was quiet and you could feel everyone’s presence when we were having that moment. At the end of this scene, I really felt like the character Jen in that moment.

And there’s also a few jokes that I said and I was so proud of myself for nailing as I went to see the movie with a couple of friends and they were all giggling at the jokes I cracked!

Mental health is a big theme for you in this movie and with WeAreWarriors, what lessons do you want audiences to take away from this?

I want the audience to take away some big questions that I think we as a society need to ask — am I utilizing this technology because it’s convenient or because it aligns with my values? The movie speaks to unhealed trauma coming up through technology and I think that’s so relevant right now as it’s happening with social media and now Neuralink is coming along so it’s more important than ever to really become aware of our patterns and take the proper path forward.

You’ve achieved so much and now a lot of people, especially young women, look up to you, what’s one big life lesson you have for them?

To give people around you the grace of change because when you give others the grace of change, you give yourself the grace of change and I think that’s what the world is asking for right now. For example, when I wanted to get into acting, it was taken very negatively which I expected, but I don’t think anyone should be held to the past versions of ourselves, we should be free to evolve. And we should all help our friends grow and push others to achieve their dreams!

Are there any upcoming projects in the pipeline and how do you see these projects challenging traditional narratives?

I need a “why” with everything I do so for acting it’s all about waiting for the right project to come along, but in my entrepreneurial journey, we’re going to try some new things with WeAreWarriors, more in-person events and schools.

And for me personally, I’m excited to keep learning new things, doing things that scare me — for example, surfing feels like it should’ve been in my life so long ago because it’s scary, fun and it’s simply the most spiritual thing I’ve ever done.

I’m also working on a podcast, which I felt nervous to do as the weight of doing a podcast on your own felt very overwhelming and perhaps not something I could sustain, but then my God-sister Allie, who is also co founder of WeAreWarriors, suggested we do it together and that felt right as we can lean on each other for interviews.

And it’s exciting for me to share my personal friends with the world, although I might have a vulnerability hangover when it releases, as I’d rather give myself in that way instead of the fragmented social media version that doesn’t feel good anymore.