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Time Business News
4 days ago
- Entertainment
- Time Business News
Civil Regime Sale Civil Regime Clothing
In a world where mold is regularly diminished to short lived patterns and purge logos, Civil Regime stands as a brand with something to say. Since its beginning, Civil Regime has situated itself at the crossing point of road culture, passionate genuineness, and resistance. Making clothing that talks to a era longing for genuineness. With capable design, curiously large outlines, and sincerely charged informin. Civil Regime offers more than fair garments—it offers a voice. This streetwear name has developed from a faction favorite into a worldwide marvel. Grasped by youth who see clothing not fair as self-expression but as self-declaration. From T-shirts and hoodies to whole capsule collections, Civil Regime conveys a sharp tasteful wrapped around a more profound enthusiastic core. The Civil Regime was propelled beneath the broader Civil Regime Clothing umbrella, a brand established in 2008 in Los Angeles. Civil Regime Clothing's mission was to engage distinction and individual expression. And Civil Regime developed as its darker, more fierce sibling—a sub-brand devoted to edgier visuals, crude feeling, and social commentary. The title 'Civil Regime' itself is a contradiction—'Civil', suggesting courteousness and arrange, and 'Regime', bringing out control, control, and disobedience. This duality illuminates the brand's approach: clothing that equalizations chaos with structure, powerlessness with quality, and individual truth with open message. What sets Civil Regime separated is its reliable commitment to enthusiastic account. Each piece—especially its famous Civil Regime Shirt and hoodies—feels like a depiction of a individual battle. A articulation of resistance, or a update to remain grounded in an progressively chaotic world. Common expressions seen on Civil Regime articles of clothing incorporate 'Damaged Youth,' 'We Are the Future,' 'No Warning,' and 'Don't Believe Anyone.' These aren't fair slogans—they're reflections of generational apprehension, societal doubt, and a yearning for something genuine. The messages talk to subjects of mental wellbeing, catastrophe, insubordination, and character. Resounding with youthful individuals who regularly feel misconstrued or marginalized. Whether you're strolling through a city road, going to a concert, or looking over through social media, spotting a Civil Regime piece is like seeing somebody else wear their feelings on the outside—and finding quality in that exposure. Civil Regime's T-shirts are a establishment of the brand. Ordinarily made from premium cotton mixes and built with loose, curiously large fits, these shirts are comfortable however strong. What sets them separated, in any case, are the realistic plans and message-forward prints. Most tees include a combination of content and symbolism: black-and-white representations, disintegrating statues, dying roses, or pixelated illustrations, combined with sincerely charged articulations like 'Love Will Tear Us Apart' or 'Silent Screams.' The visuals feel nearly like pages from a individual journal—dark, wonderful, and powerful. Often wrapped up with bothered trims, blurred washes, and vintage surfaces, these T-shirts carry the worn-in see of a favorite thing, something that's lived a life some time recently coming to your hands. They're not fair trendy—they're relatable, enthusiastic artifacts you wear daily. The brand's hoodies are ostensibly its most prevalent things. Civil Regime Hoodie has turned these closet staples into strolling bulletins of demeanor and contemplation. Made from thick downy, these hoodies are delicate and larger than usual, outlined to feel like a defensive layer—a consolation piece that too challenges. Design-wise, they carry the same crude, helpless vitality as the tees. Anticipate plans that include tear-streaked faces, burning buildings, thorned wire, and frequenting typography. A few hoodies are decorated with side prints or back content that studied like inward monologues—statements such as 'It's Not Alright' or 'This Harms More Than It Should.' The color palette tends to favor monochrome and soil tones, which permits the content and symbolism to stay the center. Moderation in color upgrades the maximalism in message. Civil Regime mixes modern streetwear sensibility with a grunge-punk ethos, drawing motivation from 1990s shake culture, emo music, underground design, and dystopian topics. The brand's tasteful is clean but coarse, enthusiastic but confident. There's a solid DIY feel in numerous of its collections—raw cuts, transcribed textual styles, and deviated plans loan an realness that feels closer to craftsmanship than attire. Each piece appears built to express something broken however excellent, much like the era it talks to. While Civil Regime is not a standard mold house, it has earned impressive consideration from performers, influencers, and streetwear symbols. Specialists like Lil Peep, Juice WRLD, Machine Weapon Kelly, and Trippie Redd have been spotted in the brand, advance cementing its put inside the sincerely expressive subcultures of music and fashion. These affiliations aren't coincidental. Civil Regime's visual and enthusiastic fashion mirrors the exceptionally music and temperament that these craftsmen embody—raw, unashamed, and hauntingly beautiful. Civil Regime doesn't fair offer clothes—it builds community. The brand regularly locks in with its group of onlookers through restricted drops, intelligently social media, and select capsule collections. Each discharge feels individual, nearly like a mystery being shared between craftsman and audience. It's not fair around looking great. It's around feeling seen. That association is what gives Civil Regime its remaining power. Civil Regime is verification that mold can be both a la mode and significant. Its T-shirts and hoodies aren't fair things of clothing—they're pieces of a bigger enthusiastic confuse. They permit wearers to express their torment, pride, control, and individual truth. In an industry fixated with appearance, Civil Regime goes more profound, reminding us that there's nothing more effective than wearing your heart—and your scars—on your sleeve. TIME BUSINESS NEWS
Yahoo
20-05-2025
- Entertainment
- Yahoo
‘Die My Love' Review: Jennifer Lawrence Shines In Lynne Ramsay's Brutal But Beautiful Portrait Of A Woman On The Edge
Die My Love, Lynne Ramsay's fifth film, ends with a familiar song sung by an unfamiliar voice: The director herself delivers a stripped-down version of Joy Division's 1980 hit 'Love Will Tear Us Apart.' Marital-breakdown songs are usually the stuff of country and western, but this stark post-punk anthem was written by Manchester's Ian Curtis, who married at 19 in 1975 and was dead, by suicide, a month before his most famous song was released, 45 years ago, almost to the day (if you're reading this during Cannes 2025). Ramsay's mesmerizing film is as close as you might get to seeing Curtis' song come to life, the brutal but beautiful story of a married woman's mental disintegration as post-natal depression consumes and obliterates her. The famous saying has it that hell is other people, but here, hell for other people is Grace (Jennifer Lawrence), a big-city author who has moved to the middle of nowhere to be close to the family of her husband Jackson (Robert Pattinson). Jackson has inherited his uncle's house, miles from the nearest neighbor but within walking distance of his mother Pam (Sissy Spacek). They have big plans; they want to recharge their batteries and create. 'It's nothing like New York here,' Jackson tells Grace, with a great deal of understatement, and the film covers their first year there in under 10 minutes, as they make violent love, have a child and celebrate his first birthday. More from Deadline Cannes Film Festival 2025 in Photos: Richard Linklater, Zoey Deutch, Jennifer Lawrence, Robert Pattinson, 'New Wave' & 'Die, My Love' Premieres 'Die My Love' Review: Jennifer Lawrence Shines In Lynne Ramsay's Brutal But Beautiful Portrait Of A Woman On The Edge – Cannes Film Festival Lynne Ramsay's 'Die My Love' With Jennifer Lawrence & Robert Pattinson Gets Nine-Minute Ovation After Cannes Premiere RELATED: The dark screen that starts the film is an indication of where we are, a great, black void accompanied by the buzzing of a fly, a sound that returns intermittently and, with the magic of Dolby Atmos, even seems to ricochet round the auditorium. Grace and Jackson are miles from anywhere, and their isolation is emphasized when Jackson looks up to the sky through a telescope, looking at the crowded canvas that is the sky. He talks excitedly about parallel worlds and infinite possibilities, but Grace shuts him down. 'Am I boring you?' he asks. 'Not you, baby, the universe' she replies. 'Who gives a shit?' This is the first inkling that Grace might be on another planet, but for the time being it's possible that she's just a wiseacre Manhattanite coming to terms with life in the sticks. A trip to the supermarket with baby Harry seems to bear this out, with a combative exchange at the till. 'Found everything you're looking for?' asks the impossibly perky cashier. 'In life?' Grace snorts, and the scathing takedown that follows the poor girl's attempts at small talk is uncomfortable to watch. By this point, Grace has become a stay-at-home mom; Jackson is off doing whatever he does (there's a vague suggestion that he's a musician, with a day job that pays the wages), leaving Grace alone with the baby. Ramsay portrays this capture in a disturbing sequence set to Toni Basil's 'Mickey,' in which Lawrence makes grotesque shapes, compulsively uttering the phrase 'All righty.' But Grace is not a domestic goddess, and her disinterest in housekeeping is further underlined when Jackson comes home with a dog ('We need a cat,' she says). The dog quickly becomes a key element of the story, its incessant barking, like the buzzing of the fly and the crying of the baby, woven into the unnerving soundscape (like You Were Never Really Here, there's a lot happening aurally). RELATED: The first person to really pick up on what's happening with Grace is her mother-in-law Pam, still grieving for her late, Alzheimer's-afflicted husband (Nick Nolte), whose shirts she irons six months after his death. 'Everybody goes a little loopy the first year,' Pam tells her, but Grace resents the inference of post-natal depression. Nevertheless, there's no doubt something is wrong, as Grace becomes destructive, self-sabotaging and becomes strangely infatuated with a motorcyclist (LaKeith Stanfield) that she may or may not be having an affair with. An attempt to patch things up by getting married makes things even worse, leading to what's arguably the film's most unexpected and genuinely shocking scene. One might reasonably think of Repulsion, starring Catherine Deneuve, as the template, and, though it's fairly faithfully based on the 2017 novel by Ariana Harwicz, Die My Love does share some DNA with Roman Polanski's 1965 film. But Ramsay doesn't take anything from that film's exponentially creepy structure, she draws instead on its harrowing ending, a frozen image of its protagonist as a child, leaving us to reflect on the damage done and the ugly spirit that lives in outwardly beautiful people (to quote Shakespeare, 'There's no art to find the mind's construction in the face'). To her credit, Lawrence holds her own against Deneuve, in what might yet prove to be a career best at the age of just 34. Pattinson generously lets her get on with it, being our avatar as his wife self-immolates in a way that becomes quite perversely romantic. When Jackson talks of their being together in a parallel world, she asks, 'Are we together? Am I rock star? Do we f*ck?' And in a funny way in this, the real world, she is a rock star, and Lynne Ramsay doesn't half-love rock stars, peppering her film with music by Lou Reed, David Bowie (whose song 'Kooks' is used so perfectly you may cry) and, er, The Chipmunks. Jeff Nichols made a similar foray into mental illness with his terrific 2011 film Take Shelter, but Die My Love goes even further, throwing love and sex into the pot and stirring it to a terrific soundtrack. RELATED: Full List Of Cannes Palme d'Or Winners Through The Years: Photo Gallery As always, Ramsay has a canny way of handling buildup and withholding catharsis, as we saw in films like Morvern Callar (which this perhaps most resembles), We Need to Talk About Kevin and You Were Never Really Here. There's also a lick of her debut, Ratcatcher, in its central premise that a new home is a new start (spoiler, it isn't). But Die My Love, as maddening as it sometimes can be, with its dream logic and dialogue, builds on the ideas expressed and genres intuited in all those previous films, creating something genuinely new, a film of sophisticated contradictions that lands like The Crystals' still unbelievably edgy 1961 pop song 'He Hit Me (and It Felt Like a Kiss).' America knows very well how good Jennifer Lawrence can be, and this could well mean a fifth Oscar nomination if it lands in savvy hands. It could also be the film that takes Ramsay into the next stage of her career. As producer Martin Scorsese well knows, she's a genius. And now, it turns out — goddammit — she can sing. Title: Die My LoveFestival: Cannes (Competition)Sales agent: 193Director: Lynne RamsayScreenwriters: Lynne Ramsay, Enda Walsh, Alice BirchCast: Jennifer Lawrence, Robert Pattinson, LaKeith Stanfield, Sissy Spacek, Nick NolteRunning time: 1 hr 58 min Best of Deadline Broadway's 2024-2025 Season: All Of Deadline's Reviews Sundance Film Festival U.S. Dramatic Grand Jury Prize Winners Through The Years Deadline Studio At Sundance Film Festival Photo Gallery: Dylan O'Brien, Ayo Edebiri, Jennifer Lopez, Lily Gladstone, Benedict Cumberbatch & More
Daily Record
13-05-2025
- Entertainment
- Daily Record
Joy Division fans find out what band name actually means after 49 years
Joy Division were one of the most popular and pioneering post-punk bands of the 1970s and 1980s - but many fans don't know the shocking reason behind the band's name If you're a music enthusiast, you'll likely be familiar with the rock band Joy Division, which was formed in Salford in 1976. The band consisted of vocalist, guitarist and lyricist Ian Curtis, guitarist and keyboardist Bernard Sumner, bassist Peter Hook and drummer Stephen Morris. After attending a Sex Pistols concert, Sumner and Hook decided to form the band. Although Joy Division's early work was heavily influenced by punk music, they soon developed their own distinctive, minimalist style, making them pioneers of the post-punk genre. In 1978, their self-released debut EP, An Ideal for Living, caught the eye of Manchester TV personality Tony Wilson. It wasn't long before he signed them to his independent label, Factory Records, and their album Unknown Pleasures was released in 1979. It was well-known that Curtis battled with personal problems, including depression and epilepsy. As the band gained popularity, his health issues made it increasingly difficult for him to perform, as he would sometimes have seizures on stage. He tragically passed away just before what would have been the band's first North American tour in May 1980, at the tender age of 23. The band's final album, Closer, was released two months later, reaching no. 6 in the UK Albums Chart, reports the Manchester Evening News. Meanwhile, the non-album single "Love Will Tear Us Apart" soared to the top of the independent singles chart as well. In 1980, following the band's tragic loss, the remaining members along with keyboardist and guitarist Gillian Gilbert reformed as New Order. Even though songs like "Love Will Tear Us Apart" and "Transmission" linger in fans' memories, the origin of the band's name remains obscure to many. The topic surfaced on Reddit when a user revealed: "TIL (today I learned) that the band Joy Division's name is a reference to the name of the Auschwitz camp brothels (Freudenabteilungen 'Joy Divisions')." One individual responded with the information: "I had read that lead singer Ian Curtis discovered in 'House of Dolls' the origins of joy divisions in WW2, and was really distraught by such evilness." Another chimed in with: "Took me forever to realise that Joy Division/New Order were the same band, less the lead singer. Totally different sounds." A third also commented: "A lot of New Wave acts took their names from Third Reich inspirations. I'm still not sure why. New Wave came out of punk so maybe it was to be edgy or something." What's the real story behind Joy Division's name? It turns out Joy Division wasn't the ensemble's initial moniker. Previously, they were called "Warsaw", reputedly influenced by a David Bowie track on his album Low. Curtis was a huge Bowie fan, and at the time, the name fitted perfectly. However, when the band was organising some gigs in late 1977, they came to realise that their name clashed with the Warsaw Pakt - a Ladbroke Grove-based group who caught headlines after launching an album within a day of recording it. They felt a rebrand was necessary as their name lacked distinctiveness. Thus, they channelled their efforts into selecting a new identity. In 1978, they adopted the name "Joy Division" – a designation believed to be influenced by the sexual exploitation sections of Nazi concentration camps during World War II. According to Far Out, it was a holocaust survivor's book titled House of Dolls that sparked the name change. Upon settling on the name Joy Division, the group encountered substantial backlash, as many perceived them as sympathisers with right-wing ideologies. Nevertheless, they persevered with the chosen name and spent two years crafting songs that ultimately discredited the conspiracy theories. Following Ian Curtis' untimely passing in 1980, the remaining members faced a decision about their future direction. They opted for a brand-new start, bearing in mind a pact made at the outset of their journey; that they would abandon the band's name should any member depart. To uphold this pledge and out of respect for Ian Curtis, they refrained from continuing under the same title. This marked the inception of New Order.
Forbes
20-04-2025
- Entertainment
- Forbes
NYT ‘Connections' Hints And Answers For Monday, April 21
Looking for some help with today's NYT Connections? Some hints and the answers for today's game are ... More right here. Looking for Sunday's NYT Connections hints, clues and answers instead? You can find them here: Hey there, Connectors! Welcome to the start of a new week. I hope you just had a mesmerizingly good weekend and that you're ready to kick all kinds of butt. As you may know by now, we like to kick off the Monday edition of the song with an upbeat song to hopefully get you moving a little and get those endorphins flowing. Dancing almost always makes you feel good. After last week's Depeche Mode pick, we're going back to early '80s this time around with, in my opinion, the very best song by New Order. 'Age of Consent' is impeccable in my book. That brilliant Peter Hook bass line drives through the entire song and those drums (which the band admitted to nicking from their former group Joy Division's 'Love Will Tear Us Apart') never fail to at least get my toes tapping. Just maybe try not to give the lyrics too much attention if you're trying to dance to this one: Before we begin, I've set up a discussion group for NYT Connections and this column on Discord. We have a great little community over there and we chat about more than NYT games. Everyone who has joined has been lovely. It's a fun hangout spot. It's also the best way to give me any feedback about the column, especially on the rare(!) occasions that I mess something up since I don't look at the comments or Twitter much. Today's NYT Connections hints and answers for Monday, April 21, are coming right up. Connections is a free, popular New York Times daily word game. You get a new puzzle at midnight every day. You can play on the NYT website or Games app. You're presented with a grid of 16 words. Your task is to arrange them into four groups of four by figuring out the links between them. The groups could be things like items you can click, names for research study participants or words preceded by a body part. There's only one solution for each puzzle, and you'll need to be careful when it comes to words that might fit into more than one category. You can shuffle the words to perhaps help you see links between them. Each group is color coded. The yellow group is usually the easiest to figure out, blue and green fall in the middle, and the purple group is usually the most difficult one. The purple group often involves wordplay. Select four words you think go together and press Submit. If you make a guess and you're incorrect, you'll lose a life. If you're close to having a correct group, you might see a message telling you that you're one word away from getting it right, but you'll still need to figure out which one to swap. If you make four mistakes, it's game over. Let's make sure that doesn't happen with the help of some hints, and, if you're really struggling, today's Connections answers. As with Wordle and other similar games, it's easy to share results with your friends on social media and group chats. If you have an NYT All Access or Games subscription, you can access the publication's Connections archive. This includes every previous game of Connections, so you can go back and play any of those that you have missed. Aside from the first 60 games or so, you should be able to find my hints via Google if you need them! Just click here and add the date of the game for which you need clues or the answers to the search query. Scroll slowly! Just after the hints for each of today's Connections groups, I'll reveal what the groups are without immediately telling you which words go into them. Today's 16 words are... And the hints for today's Connections groups are: Need some extra help? Be warned: we're starting to get into spoiler territory. Today's Connections groups are... Spoiler alert! Don't scroll any further down the page until you're ready to find out today's Connections answers. This is your final warning! Today's Connections answers are... That's 55 wins in a row thanks to my latest perfect game. Neato. Here's how I fared: 🟩🟩🟩🟩 🟨🟨🟨🟨 🟪🟪🟪🟪 🟦🟦🟦🟦 After a few moments of chin scratching, TWIST and BOMBSHELL made the greens pretty clear to me. With WRENCH out of the way, that freed up IRON to go with the yellows. I had suspected that WRENCH and IRON might be part of a group of board game pieces. It was pretty academic from there. CORKSCREW and DNA made the purples fairly obvious. That left the blues for the win. You can have multiple SHEETs within a spreadsheet, so this all adds up. That's all there is to it for today's Connections clues and answers. Be sure to check my blog tomorrow for hints and the solution for Tuesday's game if you need them. P.S. A recent edition of Strands had "THE movies" as the clue, which reminded me of today's recommendation. While it wasn't quite as successful as their fantastic cover of "Smooth Criminal," Alien Ant Farm's "Movies" did pretty well for the band. It's a fun song that I still enjoy. The band are still going and they released their latest album last year. I haven't head the whole thing but the few tracks that I have checked out have all been really good. I should probably give the record a spin (or, more accurately, fire it up on Apple Music). In any case, "Movies" is a real good time: Have a great day! Stay hydrated! Call someone you love! Please follow my blog for more coverage of NYT Connections and other word games, and even some video game news, insights and analysis. It helps me out a lot! Sharing this column with other people who play Connections would be appreciated too. Also, follow me on Bluesky! It's fun there.
