#heels review

[evolution-ofa-geek]

Heels Season 1 Episode 5 Review

Episode 112 - Swerve - We continue the Heels on Starz talk, The Duffy State Fair Commission asks Jack to meet with them for dinner to discuss having them on in front of 10k people. Ace is so jealous of his valet that he tries to sabotage her. And I also bring up other swerves that have happened throughout the wrestling business.

[kirstydreaming]

[mostlysignssomeportents]

Naomi Klein's "Doppelganger"

Tomorrow (September 6) at 7pm, I'll be hosting Naomi Klein at the LA Public Library for the launch of Doppelganger.

On September 12 at 7pm, I'll be at Toronto's Another Story Bookshop with my new book The Internet Con: How to Seize the Means of Computation.

If the Naomi be Klein you’re doing just fine If the Naomi be Wolf Oh, buddy. Ooooof.

I learned this rhyme in Doppelganger, Naomi Klein's indescribable semi-memoir that is (more or less) about the way that people confuse her with Naomi Wolf, and how that fact has taken on a new urgency as Wolf descended into conspiratorial politics, becoming a far-right darling and frequent Steve Bannon guest:

https://us.macmillan.com/books/9780374610326/doppelganger

This is a very odd book. It is also a very, very good book. The premise – exploring the two Naomis' divergence – is a surprisingly sturdy scaffold for an ambitious, wide-ranging exploration of this very frightening moment of polycrisis and systemic failure:

https://www.youtube.com/watch?v=lCjcwVhFhTA

Wolf once had a cluster of superficial political and personal similarities to Klein: a feminist author of real literary ability, a Jewish woman, and, of course, a Naomi. Klein grew accustomed to being mistaken for Wolf, but never fully comfortable. Wolf's politics were always more Sheryl Sandberg than bell hooks (or Emma Goldman). While Klein talked about capitalism and class and solidarity, Wolf wanted to "empower" individual women to thrive in a market system that would always produce millions of losers for every winner.

Fundamentally: Klein is a leftist, Wolf was a liberal. The classic leftist distinction goes: leftists want to abolish a system where 150 white men run the world; liberals want to replace half of those 150 with women, queers and people of color.

The past forty years have seen the rise and rise of a right wing politics that started out extreme (think of Reagan and Thatcher's support for Pinochet's death-squads) and only got worse. Liberals and leftists forged an uneasy alliance, with liberals in the lead (literally, in Canada, where today, Justin Trudeau's Liberal Party governs in partnership with the nominally left NDP).

But whenever real leftist transformation was possible, liberals threw in with conservatives: think of the smearing and defenestration of Corbyn by Labour's right, or of the LibDems coalition with David Cameron's Tories, or of the Democrats' dirty tricks to keep Bernie from appearing on the national ballot.

Lacking any kind of transformational agenda, the liberal answer to capitalism's problems always comes down to minor tweaks ("making sure half of our rulers are women, queers and people of color") rather than meaningful, structural shifts. This leaves liberals in the increasingly absurd position of defending the indefensible: insisting that the FDA shouldn't be questioned despite its ghastly failures during the opioid epidemic; claiming that the voting machine companies whose defective products have been the source of increasingly urgent technical criticism are without flaw; embracing the "intelligence community" as the guardians of the best version of America; cheerleading for deindustrialization while telling the workers it harmed with "learn to code"; demanding more intervention in speech by our monopolistic tech companies; and so on.

It's not like leftists ever stopped talking about the importance of transformation and not just reform. But as the junior partners in the progressive coalition, leftists have been drowned out by liberal reformers. In most of the world, if you are worried about falling wages, corporate capture of government, and scientific failures due to weak regulators, the "progressive" answer was to tell you it was all in your head, that you were an unhinged conspiratorialist:

https://doctorow.medium.com/the-swivel-eyed-loons-have-a-point-3434d7cbfae2

For Klein, it's this failure that the faux-populist right has exploited, redirecting legitimate anger and fear into racist, xenophobic, homophobic, sexist and transphobic rage. The deep-pocketed backers of the conservative movement didn't just find a method to get turkeys to vote for Christmas – progressives created the conditions that made that method possible.

If progressives answer pregnant peoples' concerns about vaccine risks – concerns rooted in the absolute failure of prenatal care – with dismissals, while conservatives accept those concerns and funnel them into conspiratorialism, then progressives' message becomes, "We are the movement of keeping things as they are," while conservatives become the movement of "things have to change." Think here of the 2016 liberal slogan, "America was already great," as an answer to the faux-populist rallying cry, "Make America great again."

When liberals get to define what it means to be "progressive," the fundamental, systemic critique is swept away. Conservatives – conservatives! – get to claim the revolutionary mantle, to insist that they alone are interested in root-and-branch transformation of society.

Like the two Naomis, conservatives and progressives become warped mirrors of one another. The progressive campaign for bodily autonomy is co-opted to be the foundation of the anti-vax movement. This is the mirror world, where concerns about real children – in border detention, or living in poverty in America – are reflected back as warped fever-swamp hallucinations about kids in imaginary pizza restaurant basements and Hollywood blood sacrifice rituals. The mirror world replaces RBG with Amy Coney-Barrett and calls it a victory for women. The mirror world defends workers by stoking xenophobic fears about immigrants.

But progressives let it happen. Progressives cede anti-surveillance to conservatives, defending reverse warrants when they're used to enumerate Jan 6 insurrectionists (nevermind that these warrants are mostly used to round up BLM demonstrators). Progressives cede suspicion of large corporations to conservatives, defending giant, exploitative, monopolistic corporations so long as they arouse conservative ire with some performative DEI key-jingling. Progressives defend the CIA and FBI when they're wrongfooting Trump, and voting machine vendors when they're turned into props for the Big Lie.

These issues are transformed in the mirror world: from grave concerns about real things, into unhinged conspiracies about imaginary things. Urgent environmental concerns are turned into a pretense to ban offshore wind turbines ("to protect the birds"). Worry about gender equality is transformed into seminars about women's representation in US drone-killing squads.

For Klein, the transformation of Wolf from liberal icon – Democratic Party consultant and Lean-In-type feminist icon – to rifle-toting Trumpling with a regular spot on the Steve Bannon Power Hour is an entrypoint to understanding the mirror world. How did so many hippie-granola yoga types turn into vicious eugenicists whose answer to "wear a mask to protect the immunocompromised" is "they should die"?

The PastelQ phenomenon – the holistic medicine and "clean eating" to QAnon pipeline – recalls the Nazi obsession with physical fitness, outdoor activities and "natural" living. The neoliberal transformation of health from a collective endeavor – dependent on environmental regulation, sanitation, and public medicine – into a private one, built entirely on "personal choices," leads inexorably to eugenics.

Once you start looking for the mirror world, you see it everywhere. AI chatbots are mirrors of experts, only instead of giving you informed opinions, they plagiarize sentence-fragments into statistically plausible paragraphs. Brands are the mirror-world version of quality, a symbol that isn't a mark of reliability, but a mark of a mark, a sign pointing at nothing. Your own brand – something we're increasingly expected to have – is the mirror world image of you.

The mirror world's overwhelming motif is "I know you are, but what am I?" As in, "Oh, you're a socialist? Well, you know that 'Nazi' stands for 'National Socialist, right?" (and inevitably, this comes from someone who obsesses over the 'Great Replacement' and considers themself a 'race realist').

This isn't serious politics, but it is seriously important. "Antisemitism is the socialism of fools," its obsession with "international bankers" the mirror-world version of the real and present danger from big finance and private equity wreckers. And, as Klein discusses with great nuance and power, the antisemitism discussion is eroded from both sides: both by antisemites, and by doctrinaire Zionists who insist that any criticism of Israel is always and ever antisemetic.

As a Jew in solidarity with Palestinians, I found this section of the book especially good – thoughtful and vigorous, pulling no punches and still capturing the discomfort aroused by this deliberately poisoned debate.

This thoughtful, vigorous prose and argumentation deserves its own special callout here: Klein has produced a first-rate literary work just as much as this is a superb philosophical and political tome. In this moment where the mirror world is exploding and the real world is contracting, this is an essential read.

I'll be Klein's interlocutor tomorrow night (Sept 6) at the LA launch for Doppelganger. We'll be appearing at 7PM at the @LAPublicLibrary:

https://lafl.org/ALOUD

Livestreaming at:

https://youtube.com/live/jIoAh-jxb2k

If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2023/09/05/not-that-naomi/#if-the-naomi-be-klein-youre-doing-just-fine

[astoundingbeyondbelief]

Kaiju Week in Review (November 26-December 2, 2023)

I wasn't over the moon when Toho announced that Takashi Yamazaki's Blockbuster Monster Movie was in fact the next Godzilla film. I had seen a few of his works—none bad, but none spectacular either. Well, I've set my sights on watching the rest in the new year, because Godzilla Minus One is an unqualified masterpiece. A tagline from the original Godzilla, King of the Monsters! comes to mind (as it often does when you're me): "Mightiest melodrama of them all!" A lot of the post-Showa films suffer from an abundance of characters who just spout exposition and look at monitors; here, almost everyone in the small cast gets at least one close encounter with Godzilla, and the monster's backstory is conveyed with extreme efficiency. This tale of a war veteran trying to rebuild his life in the ruins of Tokyo, stumbling into a family, finding fulfillment in blowing up leftover mines, and haunted by what he perceives as his cowardice in combat, would have been plenty compelling without Godzilla.

Since it does have Godzilla, it's high on my list of the best movies of the year, and I only need one viewing to call it one of the best installments in the almost-70-year-old series. Yamazaki patiently waited some 15 years after Always: Sunset on Third Street 2 for his shot at a Godzilla feature. You certainly get the sense, watching one of the most brutal, pissed-off incarnations of the monster ever to grace the screen, that he spent every day of it in preparation. Watch it often while it's still in theaters, and watch it big.

Godzilla Minus One will gross about $10 million in its U.S. opening "weekend", a third-place finish that beat expectations. For context, Godzilla 2000, the last Toho Godzilla film to receive a wide release here, made about $10 million during its entire theatrical run here. Ticket prices were cheaper then, of course, and Minus One was helped along further by almost half of attendees going to premium-format screenings. Conversely, it had to overcome Americans' subtitle phobia, and the first weekend of December is usually a slow one. I was pessimistic at the outset, but now I expect larger theaters to carry the film into the new year, especially with near-universal raves from critics and audiences.

Yes, a third section for Godzilla Minus One; it's well-deserved, I promise. MyKaiju is risking life and limb by hosting an English translation of the film's novelization, written by Takashi Yamazaki himself. It appears to be at least partially machine-translated, but the Japanese text is included for comparison. Haven't read it yet, as I want to see the film a second time first, but quite a breakthrough given how mysterious this sort of thing usually is.

Monarch: Legacy of Monsters could never hope to compare with the opening of a stellar new Godzilla film; unfortunately, I also thought this week's episode was the weakest so far. It's bookended by Frost-Vark action, but the rest just drags. All's forgiven if the teacher and the hacker smooch though.

Toho and Legendary used to let each other's live-action Godzilla movies breathe; now the U.S. opening weekend of one is coinciding with the opening marketing push of the other. IGN released a trio of pics from Godzilla x Kong: The New Empire, showing Kong with his axe; Dr. Andrews, Jia, and Trapper (Dan Stevens's character) in uniform; and Godzilla "evolving into a powerful new form." The same article included an interview with director Adam Wingard. Naturally, he didn't give away much... besides the return of Doug.

Earlier in the week, Legendary put out a trio of posters featuring Godzilla, Kong, and the film's antagonist, now christened Skar King. The taglines ("Unite" for our heroes, "Bow to Your King" for SK) sound like kaiju campaign slogans. Makes me wonder if, like Godzilla vs. Megalon before it, the movie will improbably capitalize on the presidential election next year. To steal a joke from Titanollante: Godzilla/Kong unity ticket? They'd have my vote.

Godzilla's new form, meanwhile, has already been spoiled by a T-shirt on Legendary's own site and some dire-looking Playmates figures. It makes sense that Wingard would want to have his own spin on the character after keeping the design from Godzilla: King of the Monsters for Godzilla vs. Kong. Hard to cast judgment without seeing the real design in full, but there's one particular detail I really like.

The film also has a booth at CCXP in Brazil, with a panel later today, so I think a trailer is incoming (the main reason I hammered out this whole post so quickly).

I missed this one last week: Tsuburaya announced an anime project called Ultraman: DARKNESS HEELS. The DARKNESS HEELS branding has been around for a while, spotlighting prominent evil Ultras—and, of course, Jugglus Juggler. No details on the anime yet, but if the Juggleman's there, so am I.

The big toy reveal this weekend was Super7's ULTIMATES! MaiGoji figure. Previous Godzilla figures from this line haven't lived up to the official photos, but hope springs eternal. It's $85 (much less than the MonsterArts); preorders started Friday. Other highlights: a Super7 ReAction figure of the original Godzilla's skeleton, which comes with a little Oxygen Destroyer, and a plush Mothra from Surreal Entertainment that can flip to imago form to a neck pillow-shaped larva.

[balkanradfem]

I watched the Barbie movie, it was a really fun, goofy movie! I had a good time watching it. I loved how many women there were on the screen most of the time, and how many interactions they had! I didn't appreciate when any of the kens were on screen, that didn't really accomplish much. But I did like they gay energy between all of them, they were so focused on each other the entire time, they all kept forgetting about Barbies completely, which I approve of.

I liked women having the chance to point out the impossible expectations in the society, even if they couldn't go as far as to name the perpetrators or acknowledge the root of it, but I get that, it was not a political movie, it's supposed to be goofy and fun. I very strongly found myself in Barbie when she steps into the our world and just starts noticing everything that's wrong with it; being stared at with the undertone of violence, construction crew failing to be female, the boards and corporations failing to be lead by women exclusively, that's what I'm feeling every day when I look around! It's wrong, and I'm glad they pointed it out.

One small thing that chafed on me was Barbie genuinely being scared of not having perfect body, being upset at tiny things like flat feet or cellulite, why would that be an issue in a female-dominated society? I would have loved if nobody blinked at it because it made absolutely no threat to their political superiority or their value. It also felt a bit odd when Barbie complimented a lady of being beautiful; at that point Barbie didn't hate the signs of aging or reality on others, but still was scared of them on herself. That part didn't translate well for me.

Wish more Barbies had lesbian energy! Weird Barbie had to cover that all by herself and she did an amazing job, but like, get her a girlfriend, come on.

I also loved Barbies and later, women, stating proudly that they know what they're worth and absolutely refusing to be humble about any of it. I loved how appearance of Barbies basically didn't matter, they were all respectable, smart, achieved, valuable and admirable community members, with agency and free will. In a female-dominated world it really does not matter, it was kinda funny that they had to look like barbies, in a world where there was absolutely no need to look like that.

Would love to watch a movie with this exact plot but everyone looks like normal woman, and there's no ken except those two that kept softly dancing when everyone was fighting, they can stay.

[ready-to-obeyme]

[obey me nightbringer gift item spoilers!]

.

.

.

giving lucifer the megaphone is sooooooo 😭🥺💖 like the 500 (or so) year of being in the devildom without the mc in the original obey me game really took a toll because nightbringer lucifer is so... softly vulnerable???

"...give them over to anyone."

the translation makes me so tender!! other than the fact that lucifer admits wanting mc for himself, i feel like the fact that the word 'give' in the phrase tells me that his first instinct is to allow his brothers to be with you instead of himself; lucifer feeling the need to take a step back so that you can be with one of his brothers. but the megaphone reveals his true (and possibly to him, selfish) desires--I don't want to have to give mc to anyone else!

[popping-your-culture]

Well, now. Boy howdy, what a movie! Okay, so I recently watched Pets (1973) for the first time and, wow, it’s bizarre. Probably because it feels like three increasingly disturbing vignettes strung together to form a strange, road-trip-style movie. This disarming oddness is part of what makes it a memorably strange cult film. However, the main reason you’ll never forget Pets is because of leading lady Candice “Candy” Rialson’s bravura star turn as an aimless, smoking hot drifter named Bonnie.

Read the full review of Pets here!

[jimsmovieworld]

MY DAD IS A HEEL WRESTLER- 2018 ⭐️⭐️⭐️⭐️

The Ace of New Japan, Hiroshi Tanahashi stars in this charming family friendly film about a young boy (Shota Umino) discovering his dad is secretly a villainous heel wrestler....

Very enjoyable, a real love letter to pro wrestling. Tanahashi was great, Go Ace! Many stars of New Japan appear including Kazuchika Okada in a starring role. Popped huge for Naito's cameo. Tranquilo! The dirtsheet writer was very entertaining. Hilarious soundtrack. Good film.

[the-girl-in-the-high-castle]

A few days ago I finished watching Into the Badlands, a show I wanted to watch at the time it came out, but never did, so:

- Liked it way more than I thought I would.

- In spite of it being 85% made of fighting, bloodshed and violence, it has a damn good story following it all.

- Probably the closest thing to GoT you can get out there.

- Quinn! Damn, it's the character you want to hate so much, but you just can't. He's consistent with everything he does, to the very end, no matter what, and I love him for it. We need more characters like this out there, urgently. And like I've already said before, Marton's performance here absolutely took my breath away.

- I didn't like Lydia at first, she annoyed me, but in the end, she ended up being my second favorite character.

- My tradition of not liking the main character is prominent here because Sunny was one of my least favorite characters, and I didn't like him one bit. He was pretty good at being a hypocrite most of the time.

- I love the fact that they took "the chosen one" trope with MK, chewed on it and mercilessly spat it out.

- I know MK was annoying as fuck toward the end, but somehow his journey made sense and it went well with his struggle and temperament.

- I loved that towards the end, the main character role actually went to the Widow because from moment one, whether it was intentional or not, she sort of carried the story. Somehow, things always started and ended with her. And, she's my absolute favorite character.

- I've seen people complain about the way her story ended, but I actually think it was perfect, because in the end she got to be everything a woman can be. Most writers end up failing at this, they reduce female characters to just one thing. You can either be a woman and a mother, or you can be a warrior and girlboss who needs no one. The Widow ended up being everything a female character can be, a woman, a warrior, a girlboss and a mother. She got to face her own flaws and demons and got to know what it feels like having everything to lose the way people did fighting for her. And I loved that.

- What completely came out of the left field for me was her romance with Gaius thought. His entire character was kinda redundant. I mean, I did like him, but he felt like a plot device through the entire time he was there, a plot device that in the end didn't even serve as that, cause the story would've mostly been the same even if he wasn't there. I appreciate that they tried to paint some backstory with Minerva for them to actually make some sense, but it wasn't that convincing. I actually liked his character more than I liked Sunny, but he deserved more agency and should've been introduced way earlier for it to make any sense and not only serve as the baby daddy.

- I hated that for half of the show's run Sunny was reduced to just one thing, the way writers mostly do to female characters. He was reduced to a father and nothing else, and his entire story, if it wasn't for Bajie would've probably been my favorite thing to skip.

- I loved that Bajie wasn't just a blameless and sinless comic relief and that most of the time he was portrayed as not much of a good guy based on everything he's done. Just human and selfish pretty often.

- I'm sorry, but I fucking hated Veil. She was the most annoying character in the entire show. Followed by Odessa close by.

- Somehow, the only characters that were aware of the world they live in and what it takes to survive, without being merciless butchers, were The Widow and Lydia. That's why they're my favorite characters. They have gone through hell and learned, unlike other characters who seemed too naive most of the time, in spite of living in a literal hell on earth. I can understand that with young characters like MK and Tilda, but others don't really have an excuse for being fucking Starks.

- Which is why I was annoyed as hell with the Tilda turning her back on the Widow for selling Veil out to Quinn. You live in the fucking badlands, you do what you have to do to keep your head on your shoulders, but you have to do even worse things if you are fighting for something better than that. In spite of her action actually making sense based on the world she lives in, we still had the Widow face her own dark side and her own failures and mistakes, which is why she ended up the last one standing. Unlike a lot of other characters.

- Lydia did not have to die. Her death was useless and it kinda only served as a slap in the face of the Widow telling her "you fought and killed and sacrificed everything and everyone for the power you hold, you can't put it on anyone else's shoulders now, you can't run". It also gave Moon another revenge plot he would fail. I know he's supposed to be this badass clipper, but he kind of comically ended up being a walking failure. He failed to stay away from the badlands, he failed to beat Sunny, he failed to get revenge on Sunny, he failed to beat the Widow, he mostly failed as her regent, he failed to get revenge on the witch for Lydia.

- They didn't know they would get canceled, but somehow the second half of the 3rd season felt like they were rushing to wrap up the story and a lot of things felt a bit naive and off.

- Oh, and wtf is with the showrunners being alergic to love and sex scenes? You literally have bloodshed everywhere. You have a man's arms being broken and him being stabbed by the bones of his own arms, but have like two kiss scenes in the entire show. It's actually hilarious.

Probably forgot a lot of things, but all in all, I loved the show, and I didn't expect to love it as much. Would totally recommend.

[ducktracy]

Keith Scott’s book on voices in golden age cartoons is a must read and full of fascinating bits of information such as a “that’s all folks” being recorded for Porky not by Mel Blanc, not by Joe Dougherty, but Dougherty’s occasional stand in, the cartoon sound effect imitator aficionado and incredibly named Count Cutelli

obviously it was never used since Blanc stepped into the picture at the right time, but ‘tis a testament to the fact that the sort of questions you’d ask yourself at 1 in the morning and that keep yourself awake at night (which. despite my facetious wording, i am being shamefully anecdotal) are worth asking

[watching-pictures-move]

Movie Review | Death Walks on High Heels (Ercoli, 1971)

Pleasantly caught off guard by the humour. They movie turns into a lightly comedic police procedural in its second half, and we get such scenes as the cops sobering a man up by slapping him until he throw up, trying to push open a sliding gate, only catching the killer when a bystander conveniently asks an incriminating question when they’re about to haul the wrong man off to prison, and letting the killer pull the most obvious trick in the book to escape. Oh, and there’s the scene where they try to test some hypothesis about bodily decomposition, which includes making the junior cop tie himself up, which takes a long time, and then immediately have to untie himself. The senior cop does not help.

This was made back to back with Death Walks at Midnight, with which it shares some key cast members. I found that this one had fewer lulls but the other finished stronger and probably had a stronger sense of shoot composition, although this still looks very good. Like that movie, the attempts to provide a conventional crime plot explanation prove unconvincing in light of the fetishistic charge of the material. The fact that the wife and mistress look so much alike. The matching boots. The sexually charged scenes of violence.

Also like that movie, Nieves Navarro has such beautiful hair that it’s all the funnier when they stick her with such awful wigs and ‘dos. And as a straight man I certainly won’t complain about the amount of nudity in this movie, although some of that comes at the cost of a really… questionable striptease routine.

[kirstydreaming]

Review Australia 👗

[intertexts-moving]

anyway since i finally have a job again!! i think... maybe i will. get new boots.

[cockringhoratio]

sometimes youre fucking around on the internet and discover a product targeted directly at you personally as an individual anyway today i discovered that reebok makes steel toe skate shoes and we are so fucking back babey

[thepermanentrainpress]

KASSANDRA CLACK: TRIPPIN’ IN HEELS

Trippin' In Heels – Kassandra Clack Release Date: May 12th, 2023

Track Listing:

1. Short Cut 2. Fool For You 3. On Vinyl 4. Where I’m At 5. Algorithm 6. Flash

Kassandra Clack’s Trippin’ In Heels is a debut album infused with warmth and charm. Lyrical prowess is paired with assured, velvety vocals. Channeling old-school Taylor Swift and Carrie Underwood, the country pop collection is sugary sweet with a hint of sass. Listeners will be left satisfied and hungry for more.

The Vancouver-based singer, pianist and actor is no stranger to delicious creations. Parched for project funds, Clack baked and sold cinnamon buns. The results are glazed and glamorous narratives of the ideal self.

The album rises with “Short Cut,” a song about the stress and frustration of modern living: “Give me that dry shampoo / Cause I'm running on fumes / Hitting snooze three times / And I'm stuck on loop.” Country twang latches itself onto glowing electronic notes. Controlled vocal runs beautifying the search for quality of life. “Fool for You” is light, fuzzy and romantic. Bouncy bass and trance melodies support a story of falling in love:” You got me tripping in heels down the block / Got me forgetting my words when we talk.” Shaken and stirred, the song wears its heart on the street.

Dreamy electric guitar and slow piano give “On Vinyl” an endearing 90’s vibe. Jeweled singing capturing everlasting adoration. Witty words build drama and soul:” Might not be in mint condition / But we're all billboard number ones / Like a limited edition / It's a love that will pass on.” Clacks cuts herself some slack in “Where I’m At.” The track trudges through mental mucks with acoustic strings, metallic notes, and wispy vocal harmonies. Lyrics accept and reclaim rest days: “Ain’t no shame in hittin’ snooze / This Snuggie is my business suit / Kitchen boardroom / Different day / Same zoom.”

“Algorithm” decodes love with restless strings and rustic tones. Intensity builds up to a chorus reinforced by energized drums. ”Love is patient, love is kind / It's cold and cruel and brutally blind.” The album is wrapped up with the somber but shimmering “Flash.” Angelic vocal layers paint a portrait of uncertainty: “If my tickets were sold out / Would I be reaching for more / Trying to win the award / Would it really make you love me more.” Soft piano and twang construct a peaceful and picturesque soundscape.

Trippin’ In Heels is an enchanting introduction to Kassandra Clack. Fierce and feminine, her persona is captivating. The artistry is impressively intentional. Resonating lyrics, buttery vocals, and rich instrumentals make the album an elevated experience.

Written by: Jenna Keeble

[chasejlondon]

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Cracked Heel Treatment Sample - Lavender & Peppermint Cracked Heel Treatment Sample

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