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How to Apply Liquid Lipstick Correctly, According to Pro Makeup Artists
Fashion

How to Apply Liquid Lipstick Correctly, According to Pro Makeup Artists

by jummy84
written by jummy84

At first glance, learning how to apply liquid lipstick may seem intuitive. But in reality, it’s not always as simple as swiping on your favorite gloss.

Liquid formulas combine the pigment of a classic lipstick with the controlled application of a lip-gloss wand. It typically goes on wet, and dries into a smudge-proof texture. The product is loved by makeup artists and enthusiasts alike for its staying power: “A liquid lipstick will be more long-lasting and overall wear longer throughout the day than a regular lipstick,” Steve Kassajikian, head of global artistry for Urban Decay, tells Glamour. “Plus, you won’t get transfer or bleeding with a liquid lipstick that you might experience from a solid.”

Whether you’re after a statement lip or a pillowy neutral pout, liquid lipstick is a product you can count on to elevate your whole look—and last. Below, pro makeup artists share their best tips for maximizing your liquid lip.

How to prep your lips for liquid lipstick

Experts say that the most common mistake when using liquid lipstick is not preparing your lips properly for the product. “Lip care prior to applying liquid lipstick is essential for a smooth application,” says Lauren D’Amelio Ventre, a celebrity makeup artist. Before you go in with makeup, “exfoliate the lips with a gentle lip scrub to remove dry skin and to avoid patchiness,” Kassajikian says. “Then apply a lip balm to bring moisture back into the lips.”

Once some hydration has soaked in, blot your balm off your lips for a drier base. An optional next step is applying a lipstick primer—“but it’s not really needed if you prep by exfoliating and hydrating,” D’Amelio Ventre says.

Fresh Sugar Lip Polish Exfoliator

Mario Badescu Moisturizing Lip Balm

How to apply liquid lipstick, step by step

After prepping your lips for the product (see above), experts recommend tracing the outline of your lips with a lip liner. “I always prefer a liner before applying liquid lipstick. It works as a barrier and gives you an outline to achieve the perfect lip shape,” Kassajikian says. D’Amelio Ventre agrees: “It comes down to personal preference, but it just makes the liquid lipstick look bolder and sharper.”

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Hemlocke Springs Is Your Favorite Artist’s Favorite Opener
Fashion

Hemlocke Springs Is Your Favorite Artist’s Favorite Opener

by jummy84
written by jummy84

What are you most looking forward to about your next set of shows with Chappell in LA?

Don’t get me wrong, I am really looking forward to playing for crowds; Chappell’s crowds in particular are very passionate, and the environment there is just so welcoming. It is different than other concerts I’ve been to—it’s a very queer-friendly space. But that being said, I get very anxious [beforehand], so I’m most looking forward to finishing the shows so I can look back at them in hindsight. I kind of black out during shows and am like, What happened?

Can you tell me a little bit about touring with Conan Gray?

It did feel like that Lady Gaga meme of: “Bus, club, another club.” It was my first bus tour and I was very honored to be able to join Conan and his crew. I was just watching a bunch of people having cathartic experiences, seeing these girls screaming, crying, and it was very touching. Everybody was just so nice and wonderful. I really like bus life; I was like, I need to make more money, I need to be on a bus. Bus life was awesome, so I cannot complain at all.

I know you have a master’s degree in health informatics from Dartmouth. Do you feel like that knowledge base is related to your music at all?

I definitely think there are things that overlap. In the same way that I’ve had to study for tests and stuff like that, I’ve had to study the music industry and what it entails. It is a dream and a privilege to do this job and to do music as a business, but it also is a job, and I feel like in the beginning, I didn’t really think of it that way. I need to make sure I know what I’m signing, make sure I know my rollout plan, make sure I know all the logistics that go into music that I feel like I didn’t know before. The same study practices I used in my youth, I’m able to employ them now, and that’s nice.

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Rap Artists Whose Music Honors Assata Shakur's Revolutionary Spirit
Music

Rap Artists Whose Music Honors Assata Shakur’s Revolutionary Spirit

by jummy84
written by jummy84

Hip-Hop, at its very foundation, has always been more than beats and rhymes — it has been a vessel for survival, resistance, and rebellion.

Born in the Bronx during the 1970s, the culture emerged as a way to channel poverty, oppression, and sociopolitical strife into creative expression and communal strength. That defiant spirit mirrored, and in many ways carried forward, the ethos of the revolutionary movements that preceded it.

The music and the figures behind it were spiritual successors to the Black Panther Party and Black Liberation Army of the late ’60s and ’70s, organizations that dared to empower young people of color to challenge authority, reclaim their dignity, and speak truth to power.

Among the most iconic figures to emerge from that revolutionary era was Assata Shakur. Born Joanne Chesimard in New York, she became active in activism during her college years, first joining the Black Panther Party before transitioning to the Black Liberation Army.

Outspoken and unyielding in her defense of Black lives, Shakur became a polarizing figure in the eyes of the American government.

In 1973, she and two other BLA members were involved in a violent shootout with New Jersey State Troopers on the New Jersey Turnpike. One officer was killed, another was wounded, and one of the BLA members was fatally shot.

Assata Shakur

Bettmann / Contributor

Though Shakur maintained her innocence, she was convicted of first-degree murder in 1977 and sentenced to life plus 26 to 33 years. Two years later, she staged one of the most famous prison escapes in U.S. history, ultimately finding political asylum in Cuba in 1984.

While the FBI branded her a fugitive and threat to society, Hip-Hop embraced her as something far greater: a freedom fighter, a survivor, and a symbol of uncompromising defiance against systemic oppression.

Considered an “aunt” to the late Tupac Shakur, Assata was revered not only by her nephew but also by countless artists who found in her story a reflection of Hip-Hop’s own struggle — marginalized voices fighting to be heard in the face of power.

Assata Shakur

Bettmann / Contributor

Her revolutionary spirit continues to echo through the music, referenced in verses and honored in interviews, a reminder that Hip-Hop is inseparable from the struggle that birthed it. To this day, Assata Shakur remains a beacon of love, resilience, and pride for Black people — a figure whose life, though fraught with controversy, has forever shaped the cultural consciousness of Hip-Hop.

Following her passing on Sept. 25, 2025, at the age of 78, she leaves behind not just a legacy of resistance, but a blueprint for artists who dare to stand defiantly against the forces that seek to silence them.

In celebration of her life and legacy, VIBE highlights more than 50 artists who kept Assata Shakur’s name alive in exile through their music. These lyrics and displays of homage will continue to resonate and introduce her to future generations of listeners and potential revolutionaries.

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Katy Perry performs onstage in 2025. (Credit: Kevin Mazur/Getty Images for Katy Perry)
Music

Social Media Built the Stage For Artists, but Now It’s Pulling the Plug

by jummy84
written by jummy84

Today’s live music industry is at an inflection point. Global acts that once sold out stadiums in mere seconds, like Beyoncé and Katy Perry, seem to be facing unexpected ticket sales challenges, such as sluggish demand. Beloved bands like the All-American Rejects are opting to play backyard gigs in the heart of their communities rather than traditional venues. 

These artists are most definitely not in decline, as they’re all cultural icons with both global recognition and massive online audiences. So how is it that in an era of constant visibility, even the biggest names in music are finding it harder than ever to fill seats?

The disconnect has nothing to do with demand. It’s about how artists reach their fans and how the platforms they rely on have quietly reshaped the artist-fan relationship. Visibility has never been higher, but connection has never felt thinner. 

Today’s musicians are relying on borrowed platforms that weren’t designed for them. The result is a system that strips them of control, weakens fan relationships, and leaves potential revenue on the table. It’s time to rethink the artist-fan relationship, and not as a content stream but as a community. And it should be one that acts can truly own.

The Broken Feedback Loop of Social Media

Social media was sold as the great equalizer. Post the right thing and you could blow up overnight. In practice, it’s created a race to the bottom where the loudest win and the most original often burn out.

These platforms reward trend-chasing over creativity and consistency. Even the biggest creators have no access to their own fan data. They can’t email them, text them, or reach them on demand. And when something actually matters, like selling a tour or moving merchandise, there’s no guarantee the algorithm will come through and surface your posts.

For the artists, this is beyond frustrating. It proves it’s a broken system. Social media has turned fans into followers and followers into passive metrics. Now compare that to the early internet with fan clubs, forums, and mailing lists—genuine communities where fans felt seen and where artists built loyalty that lasted longer than any feed refresh..

Beyoncé accepts the Best Country Album award for Cowboy Carter onstage during the 67th Grammy Awards. (Credit: JC Olivera/WireImage)

Rented Land, Vanishing Control

Artists are running their careers on infrastructure they don’t own. This means artists have surrendered control of their most valuable asset—their fan relationships. Fan data is split across ticketing platforms, streaming services, merch shops, and many more channels, none of which are shared or connected. That would be like a restaurant chain where each location uses a different system and none of them know if the same customer has visited before.

No successful direct-to-consumer brand would do that. So why would an artist?

Some artists are already making the shift. From Latin America to the U.S., they’re using new tools, like the one we’re building at Sesh and platforms like Discord that let them communicate directly with fans. No app download. No algorithm interference. Just a real channel they control. Social media will never go away, but it will stop being the foundation. It becomes the flyer, not the venue.

The Superfan Economy Is Already Here

Goldman Sachs estimates the superfan economy will be worth more than $4.3 billion in the next few years. These are the fans who want more than the music. They want access. They want to participate. And they’re willing to pay for it.

Musicians who know who their top fans are and know how to actually reach them will win in the long run. Those who don’t will be left shouting into the void. Direct-to-fan tools are no longer optional. They’re the difference between surviving and thriving. Artists using these platforms are already building vibrant communities with nothing more than a phone number and a clear vision.

The real value isn’t just financial—it’s creative autonomy. When you’re not dependent on algorithms, you can create what matters to you instead of chasing whatever the platform rewards this month. You can experiment and know your fans will show up regardless.

The message is simple: Stop renting your fans. True freedom means owning your audience.

The acts that will thrive in this next decade won’t be the ones with the most followers. They’ll be the ones who build the deepest, strongest fan relationships. 

The tools are here. The shift is already happening. It’s just a matter of choosing to own it.

Pepe del Río is co-founder and CEO of Sesh.

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Four Indie Artists to Follow This Fall
Music

Four Indie Artists to Follow This Fall

by jummy84
written by jummy84

Along with crisp air, colorful leaves, shorter days, and cozy sweaters, the change of season always brings fresh new music. Autumn 2025 is no exception, as we spotlight four rising indie artists carving out their own space with innovative songwriting, distinctive sounds, and tracks you’ll have on repeat well past Thanksgiving. Presented by TuneCore Accelerator, this roundup highlights exceptional acts that deserve a place on your fall playlists.

Photo Courtesy of King Hendrick$

King Hendrick$

All roads lead home for King Hendrick$. Best known for 2024’s smash street anthem “Leaving the Lot,” the prolific indie rapper hails from Natchitoches and wears his experiences growing up in the central Louisiana town like a badge of honor. With sharp storytelling and unfiltered lines, the Bayou State native’s tenth album in three years is long on wit, grit and honesty. At the heart of ‘Baller Academy (Deluxe)’ lies “They Mobbin’,” a raw, autobiographical track with reflective, jazzy instrumentation. The sparsely arranged “Risked My Life To Floss” is an equally compelling highlight. Throughout the project, Hendrick$ ponders the challenges of the grind. Yet for all his insight about the harsh realities of the world, King recognizes the need to balance bravado with levity.   “I wake up and bake up instantly” he proudly proclaims at the outset of “Cowhide Boots,” a welcome party ode and one of the unquestionable peaks of his latest release.

DUUNES (Photo by Nikolasi Saafi)

DUUNES

It makes sense that NYC alt-rocker DUUNES (a.k.a. Harrison Cohen) was weaned on bands like The Killers, Kings of Leon, Young the Giant and Cage the Elephant. After all, his kick-ass viral rendition of the latter’s “Ain’t No Rest For The Wicked” amassed over 25 million views across Tik Tok, YouTube and Instagram. But Cohen’s penchant for crafting original songs with big choruses and undeniable hooks goes far beyond his good taste in covers. Alternative music lovers will want to get acquainted with winners like “Ballerina Fingers,” his punchy and powerful ode to drug-addled passion. And DUUNES’ edgy new earworm, “One Hand Clap,” should only help his ascent. Harrison’s songs have even graced the airwaves of WFUV and he was recently handpicked by indie sensation Joe P to support that beloved radio station’s Racket NYC showcase. With dynamic sold-out live shows in Manhattan and Boston under his belt and more East Coast, Midwest and Pacific Coast dates on the horizon, now is the time to dig into DUNNES.

Photo Courtesy of Låpsley 

Låpsley 

Revered indie artist Låpsley first rose to prominence as a teenager on the strength of her 2016 debut album ‘Long Way Home’ – which featured the hits “Hurt Me” and “Operator.” Subsequent offerings like 2020’s ‘Through Water’ and 2023’s ‘Cautionary Tales of Youth’ saw her evolve and become more assertive not only musically, but as an outspoken queer artist documenting her stormy coming-of-age experiences while standing up for climate issues. As a songwriter, Låpsley also penned popular tunes for other artists like Barry Can’t Swim, ODESZA, and Paloma Faith and delivered a platinum hit for Joel Corry (“Out Out”). Now she’s back with ‘I’M A HURRICANE I’M A WOMAN IN LOVE.’ Her stunning new deluxe album counts the haunting, self-assured single “Sound of Silence,” the downright contagious bop “Woman Like That” and her heartfelt, can’t-miss ballad “Featherweight Champion of the World.”

CRAY (Photo by @brxn)

CRAY

Los Angeles based artist and producer CRAY – short for Cheney Ray – first made a name for herself a decade ago as a passionate gamer on Twitch. A love of electronic music prompted her to pivot to DJ work, where she found success thanks to epic sets at events like HARD Summer and Electric Zoo. Tours with Skrillex and headlining dates in Australia followed and gave way to her own original songs, including memorable singles like 2016’s “4never,” 2018’s “Fractions” and 2019’s “…eat your heart out.” While her COVID-era offerings like “Mean Girls,” “Mommy’s Boy” “Kids” and “Don’t Trust Me” marked a shift into punk/pop terrain, CRAY’s adventurous spirit has since spawned a distinct and electrifying new sound. Case in point is “Till Death,” which has a suggestive and sinister vibe. CRAY says the groundbreaking, genre-bending single was “inspired by our favorite enemies-to-lovers books.”

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Jameela Jamil at Together For Palestine. Credit: Luke Dyson
Music

Jameela Jamil calls for artists to speak out at Together For Palestine

by jummy84
written by jummy84

Jameela Jamil spoke to NME backstage at the Together For Palestine concert last night, urging all artists to speak out and “be on the side of love and humanity”. Watch our interview with Jamil above.

The actress, activist and presenter was one of many hosts who gave impassioned speeches on stage at London’s Wembley Arena last night (Wednesday September 17), a night organised and curated by Brian Eno that saw huge performances from Damon Albarn, Paul Weller, Rachel Chinouriri, Yasiin Bey, and more, alongside guest speakers including Eric Cantona, PinkPantheress, Richard Gere, Benedict Cumberbatch, Florence Pugh, and Nicola Coughlan.

The event, which was also available as a livestream, raised just under £1.5million for the ‘Together For Palestine Fund’, which will be distributed to Palestinian-led organisations such as Taawon, Palestine Children’s Relief Fund and Palestine Medical Relief Service.

The concert came just a day after a UN commission inquiry concluded that Israel had committed a genocide in Gaza. Israel continues to deny accusations of genocide or war crimes.

Together For Palestine. CREDIT: Samir Hussein/WireImage for ABA

This was the largest ever concert fundraiser to take place in the UK, with Eno having spoken about how it wouldn’t have been possible in years gone by.

When asked about what it means that this should take place in 2025, Jamil replied: “It tells us that we’ve reached boiling point of how much suffering people can watch on a livestream. It shows that there is a shift in the narrative and a tide that has turned. People are realising that we cannot live with ourselves anymore if we continue to look away and stay silent.”

With the nature of freedom of expression under scrutiny in the UK, Jamil argued that culture and politics have “always been intertwined”.

“Artists have such a duty to show up to impact culture,” she explained. “We have so much access to people’s eyes and ears. It is a huge failure on our part if we just take and take and take and never do anything to move culture and move people towards the right direction, which is that of love.”

Jameela Jamil at Together For Palestine. Credit: Burak Cingi
Jameela Jamil at Together For Palestine. Credit: Burak Cingi

However, Jamil said that should understood why artists might be fearful of speaking up for Palestine.

“I don’t want to shame anyone who’s only showing up now, but we desperately need you,” she pleaded. “When you look back later, you will realise that you were on the side of love and humanity. I think people will hugely regret not having said something when they could have.”

As for what Together For Palestine represents, Jamil said that she believed it represented a sense of hope that change could come as a result of solidarity and being seen.

“I can’t tell anyone not to feel hopeless in this current climate, but I think that a morsel of hope can be found in the calibre of artists who’ve shown up and aren’t afraid to speak up, say something and do the right thing,” she said. “I personally felt very moved looking around the room and seeing all the artist that are here like Massive Attack, Portishead, Damon Albarn and all these British legends, and then Eric Cantona who I guess we’re claiming as a British legend now.”

Jamil added: “When you realise the people you’ve looked up to your whole life are actually great and they actually stand alongside the principles you hoped they would, it’s an incredible feeling. I hope music fans feel at least moved by that. I can’t force anyone to feel hopeful, but I know that what we’re doing here tonight is really beautiful.

“Everyone’s here for such a beautiful cause and that fills me with a tiny bit of light amidst this terrible darkness.”

Jameela Jamil at Together For Palestine. Credit: Luke Dyson
Jameela Jamil at Together For Palestine. Credit: Luke Dyson

Check out all of what went down at the Together For Palestine concert here, and visit here to donate to the Together For Palestine fund.

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Clipse Become First Hip-Hop Artists To Perform At The Vatican
Music

Clipse Become First Hip-Hop Artists To Perform At The Vatican

by jummy84
written by jummy84

In a groundbreaking and reverent moment for both music and culture, Clipse—the legendary hip-hop duo comprised of Pusha T and No Malice—became the first hip-hop artists in history to perform at The Vatican.

The Virginians made the trek overseas to put forth a moving performance during the Grace for the World concert held in St. Peter’s Square on Saturday (Sept. 13).

Not only did Clipse shatter boundaries by stepping onto one of the most sacred stages on Earth, but they also took part in a historic first: Grace for the World marked the first-ever concert to be held in St. Peter’s Square, located at the heart of Vatican City in Rome, Italy.

Alessandra Benedetti – Corbis/Corbis via Getty Images

The duo performed their soul-searching track “The Birds Don’t Sing” with a surprise appearance from John Legend, whose soaring vocals added depth and spiritual resonance to the already heartfelt set. The powerful collaboration left attendees in awe, blending the raw lyricism of hip-hop with gospel-infused soul.

“This is a rare cultural moment where the world stops and collectively tunes in. It is a message of unity and grace for all of humanity,” said Pharrell Williams, whose company Something in the Water co-produced the event alongside Nova Sky Stories and the legendary Andrea Bocelli.

The star-studded concert also featured performances from Jennifer Hudson, BamBam, Jelly Roll, Karol G, and Teddy Swims, a lineup that transcended genre, language, and faith.

Clipse

Julien M. Hekimian/Getty Images

For Clipse, the moment is another peak in a year of reinvention and resurgence. The duo’s long-awaited fourth studio album, Let God Sort ’Em Out, debuted at No. 4 on the Billboard 200, powered by singles like “Ace Trumpets” and “So Be It.” Their first release in over 15 years has already been hailed as one of 2025’s best hip-hop albums.

In a performance that bridged the sacred and the street, Clipse not only made history—they brought hip-hop to one of the holiest stages in the world.

Watch the Clipse’s performance at the Grace for the World concert below.

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Should Cartel Threats Against Mexican Artists Be Taken Seriously?
Music

Should Cartel Threats Against Mexican Artists Be Taken Seriously?

by jummy84
written by jummy84

A banner draped from a Tijuana bridge earlier this week carried a chilling warning in bold black letters: “Junior H, refrain from showing up on 08/11. If not, you’re going to get yourself killed.” The threat, currently under investigation by the Baja California authorities, is seemingly the latest attempt by one of Mexico’s most dangerous cartels to assert its control over both artists, and the city the banner is placed in.

In recent years, Grupo Firme, Fuerza Regida, and Peso Pluma have received similar warnings from different cartels, prompting them to cancel shows to protect themselves and their fans. A rep for Junior H, however, told Rolling Stone last week that the corridos artist still plans to perform as scheduled.

As música mexicana has surged in popularity, so have “narcomantas” — banners deployed by Mexican cartels to threaten artists and rival groups. In extreme cases usually unrelated to music, these narcomantas have been accompanied by severed heads or dead bodies; other times, they carry simple but serious messages that demand to be taken at face value.

“Narcomantas need to be taken completely seriously,” Mexico City-based criminal defense attorney Ilan Katz Mayo tells Rolling Stone. “The medium is the message. The simple fact that a narcomanta exists sends a message: the situation is dangerous and the threat is real.”

Katz Mayo says that narcomantas are a “way for organized criminal organizations to scare people” and also threaten other cartels or those who work with them. “Sometimes, criminal organizations may have issues with a singer over a lyric or because the artist supports someone who antagonizes that group,” Katz Mayo explains.

In Junior H’s case, the threat — allegedly from the Cartel Jalisco Nueva Generación — explicitly referenced his narcocorridos: “Not singing narcocorridos now won’t save you. We do not forgive,” it read. The message seemed to point to his past music that alludes to leaders of rival criminal organizations.

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Though most of Junior’s music centers on romance and heartbreak, at least two of his songs seem to allude to the Sinaloa Cartel, the group once led by Joaquín “El Chapo” Guzmán, CJNG’s chief rival. In 2022, Junior released “El Hijo Mayor,” seemingly about El Chapo’s late eldest son, in which he sings: “I don’t even need to mention his name / I was the eldest son of that much-talked-about man.” And on his 2023 hit with Peso Pluma, he drops another reference, seemingly invoking “701,” El Chapo’s numerology, adding: “Low profile, the guy, and he’s missed / Though he’s gone, he’s never forgotten.”

“In Junior H’s case, it seems like a personal issue with the artist,” says Katz Mayo. “It’s clear that if someone is offended by something said, the message sent is meant to intimidate the artist.”

But the threats can be grave: While the cartel has not taken responsibility for the killing, Ernesto Barajas, frontman of Enigma Noteño, was gunned down just last month, two years after receiving threats from the CJNG. And in years past, other Mexican artists have died at the hands of the cartel: Corrido legends Chalino Sánchez, murdered in 1992, Valentín Elizalde, killed in 2006, and K-Paz de la Sierra’s Sergio Gomez were targeted by cartels over their musical ties to rival criminal organizations.

With the narcomantas, the intimidation may be a way to assert dominance in a given territory and signal to both artists and rival groups who can assert the most control. According to Katz Mayo, it can also stem from an economic disadvantage: As artists rise in status and begin working with major promoters unwilling to engage with organized crime, local cartels find it difficult to exert their influence.

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“Essentially, there are two main motives: one is visceral, and the other is economic,” Katz Mayo says. “A local promoter or regional organizer might pay extortion fees, but large companies like Live Nation cannot do that. They’re unable to operate that way.”

Katz Mayo says that in some areas, concerts are sometimes held in places or areas that are owned or controlled by members of criminal organizations, and have a financial interest in shows played there: whether it’s a venue, the alcohol sold, the security, or simply the area where the concert is being held.

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“As artists grow, there are fewer opportunities for criminal organizations to profit because international managers are now involved,” he explains. “The more important the artist and the better their promoters, the more resistance you’ll see from these groups.”

A rep for Junior H declined to comment for this story.

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From Anoushka Shankar to Asha Bhosle, Gorillaz's The Mountain elevates Indian artists beyond exotic backdrops
Lifestyle

From Anoushka Shankar to Asha Bhosle, Gorillaz’s The Mountain elevates Indian artists beyond exotic backdrops

by jummy84
written by jummy84

Animated alternative rock band Gorillaz, led by Damon Albarn and Jamie Hewlett, have announced their ninth studio album The Mountain, releasing on March 20, 2026. This new project is a departure from the virtual band’s wide-ranging earlier catalogue – which usually blends alternative rock with synth-pop, electronica and hip-hop – incorporating Indian themes, Hindustani classical music, as well as collaborations with Indian artists including the likes of Anoushka Shankar and Asha Bhosle.

The Mountain’s artwork showcases a representation of the Hindu deity Nataraja, holding various items including two crosses and a sitar.(instagram/@gorillaz)

Also Read | Gorillaz announces new album The Mountain inspired by India, collaborates with Asha Bhosle and Anoushka Shankar

The artwork and tracklist

The album cover, artwork, and tracklist were revealed on social media on September 12. The album cover says “Parvat” in Hindi letters and the artwork features the four animated band members with various oriental overtones – Murdoc as a full-blown sanyasi or yogi wearing rudraksh-style beads, Russel sitting with a tuba donning a kurta-pajama set, complete with a pagri, Noodle acting as the bridge between the mystical and the modern, with a face full of Kabuki-inspired makeup, and 2D posing as the American traveler – and a representation of Nataraj in typical Gorillaz art style, holding various items including two crosses, a mobile phone and a sitar. It also features a royal Bengal tiger, a goat and a monkey.

The tracklist revealed epic collaborations in five different languages with artists including Asha Bhosle, Amaan and Ayaan Ali Bangash, Ajay Prasanna, Omar Souleyman, Asha Puthli, Anoushka Shankar, IDLES, Paul Simonon, Jalen Ngonda, and Johnny Marr from the Smiths (interesting, right?). In an interview with Rolling Stone UK, Damon Albarn and Jamie Hewlett discussed their inspiration behind the album, their travels to India, their experience collaborating with Indian artists, and the theme of life, death, and transition, which is central to the project.

From voiceless muse to cultural agency

When Hindustani classical music was first popularised in Western music by the Beatles, back in the 60s, they borrowed musical elements, including instruments like the sitar and tambura, and appropriated the ‘exotic’ soundscapes into British psychedelic rock. Ever since the hippies turned to India for spiritual and religious transcendence, the country has been branded as a kaleidoscopic land of psychedelic visions, trippy colours and drugged ascetics lost in mind-bending meditation. Along with this came the appropriation of Hindustani music – long sitar solos and tambura drones in the backdrop – again branded as exotic background ambience for the Western imagination rather than celebrated as the work of skilled Indian musicians.

Gorillaz’s new album marks a departure from this century’s old Western tradition of idealising the East as the exotic land without a voice – the narrative of representation and the politics of authenticity has always been controlled by the West. The album explores the fictional travels of the four animated bandmates through India, and was recorded in London, Devon, and places in India. In the Rolling Stone interview, both Albarn and Hewlett talk about going through tragic losses – the deaths of their fathers and Hewlett’s mother-in-law – and finding comfort in the attitudes of Hinduism, Buddhism and Sikhism towards death. Belonging to a fundamentally Anglo-Christian background, their response is comparable to the hippie movement’s attraction to the east.

Also Read | Anoushka Shankar slams ‘sexist comments’ on her pics as she opens up about health battles: ‘No need to show cleavage’

Collaboration with Indian artists

The duo mentioned having their best time working with Indian artists and experiencing the country in ‘glorious technicolour’. One collaboration, however, stood out for Albarn – Anoushka Shankar. He was introduced to sitar virtuoso Pandit Ravi Shankar at an early age, courtesy of his parents’ deep appreciation for Indian classical music and ragas, and having the sitar guru’s daughter on his record marks a full circle moment for him. He told Rolling Stone, “I probably listened to Ravi Shankar before I listened to The Beatles when I was a kid,” and added, “to have Anoushka Shankar on the record is not only a real privilege, but the connection with my dad and his love of Ravi Shankar is great.”

This collaboration is not only a defining moment for Damon Albarn’s experience, but also marks a poetic return to the era when psych rock first wove Hindustani classical into its sonic tapestry – from the Beatles’ transformative journey to Rishikesh, where George Harrison learnt to play the sitar under the guidance of the legendary Pandit Ravi Shankar.

Allowing Indian artists to have a voice and representing them on the global stage restores an agency to Eastern culture that was long overdue. Unlike past Western projects that borrowed Indian sounds as exotic adornments, this album places Indian musicians and instruments at the heart of its sonic identity. From Anoushka Shankar’s sitar to the intricate rhythms of classical percussion, the contributions aren’t background flourishes – they shape the very texture of the music. In doing so, Gorillaz challenge the old orientalist template, transforming India from a passive muse into an active co-creator in a globally resonant soundscape.

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Glamour
Fashion

8 Best No-Clump Mascaras Tested 2025, Approved by Makeup Artists

by jummy84
written by jummy84

“This Tower 28 mascara manages to add volume to my short lashes but without the messiness or flakyness. The product doesn’t smudge on my eyelids like other mascaras thanks to the bristles that really separate my lashes,” says Glamour senior commerce editor Jenifer Calle.

Best for Sensitive Eyes: Thrive Causemetics Liquid Lash Extensions Mascara

Thrive Causemetics Liquid Lash Extensions Mascara

Original video from Alanna Martine Kilkeary testing Thrive Causemetics Liquid Lash Extensions Mascara

Kasey Spickard, a NYC-based celebrity makeup artist who prefers a tubing mascara to avoid clumps, raves about this long-wearing option “I was turned onto it by one of my clients who’s a touring comedian,” Spickard says. “She loves a full lash and this one doesn’t clump or transfer. I now swear by it.”

But the best part is that this pick is not only laugh (and cry proof), it’s also suitable for sensitive eyes. It has castor seed oils, shea butter and a tapered cone brush which helps you coat every single lash.

“This cruelty-free formula is really gentle on eyes, and I like to use it during allergy season when my eyes are at an all-time watering level,” says Glamour’s Kilkeary. “This formula stays put, never smudges and isn’t clumpy during application.”

Best for Thin Lashes: Kosas Soulgazer Lengthening & Lifting Peptide Mascara

Kosas Soulgazer Lengthening & Lifting Peptide Mascara

Original video from Alanna Martine Kilkeary testing Kosas Soulgazer Lengthening & Lifting Peptide Mascara

Williamson also recommends this smudge-proof mascara if you have thin lashes. It’s packed with peptides that make lashes look long and strong, and won’t flake all day long.

“My favorite thing about this mascara is the curved brush,” says Glamour’s Kilkeary. “It’s this neat hourglass shape that helps you really curl up and lift your lashes during application, and it never gives off too much pigment. It even has helped my lashes grow a bit after using it for over a month now — they look and feel thicker and resilient.”

Best for Older Women: Clinique Try It On High Impact Mascara

Clinique Try It On High Impact Mascara

Original video from Charlotte Twine testing Clinique Try It On High Impact Mascara

Aging often comes hand-in-hand with thin lashes or lash loss, which can make clumping even more obvious. This formula is a favorite of ours because it has a hydrating formula and soft fiber brush that adds volume without the gunk. It’s also ophthalmologist tested and safe for those who wear contacts.

“​​I’m a huge fan of Clinique skin care, but had never given their make up a try. Take it from me, Clinique High Impact Mascara is impressively good. I particularly recommend its wispy, layering, non-clumpy qualities. If you’re looking for more dramatic lashes, the key is to layer it on. The first coat came out super wispy and very natural, but as I applied layers, it became thicker and fluffier and more show-girl-like, if you will, with no clumps. My lashes are pretty sparse these days as I get older, and it takes a lot of scaffolding to make them actually appear visibly around my eyes, but Clinique’s mascara did an outstanding job without making them look all goopy. I’m putting this in my makeup bag right away,” says Glamour contributor Charlotte Twine.

Best for Length: Makeup by Mario Master Mascara Volumizing & Lift

Makeup by Mario Master Mascara Volumizing & Lift

Original video of Alanna Martine Kilkeary testing the Makeup by Mario Master Mascara Volumizing & Lift

Jonet Williamson, NYC-based makeup artist, swears by this long-lasting volumizing and lifting mascara. The formula has a blend of ProVitamin B5, castor oil, polymers and vegan wax that helps hug your lashes to give them volume and length.

“I love the brush of this mascara because it’s not overly thick, but not too thin either,” says Glamour’s Kilkeary. “It gives you just the right amount of pigment without looking inky and helps separate lashes for a voluminous, yet non-lumpy finish.”

Best for Short Lashes: Ilia Beauty Limitless Lash Mascara

Ilia Beauty Limitless Lash Mascara

Original video from Ariana Yaptangco testing Ilia Beauty Limitless Lash Mascara

  • Pros: Gentle pigment makes application easy; contains arginine to condition lashes
  • Cons: Pricey

Brielle Pollara, a New-Jersey based makeup artist, prefers this Ilia mascara for short, straight lashes and sensitive eyes. “The formula and hourglass shape of the brush work in conjunction to create a voluminous finish, and it’s formulated with provitamin B5 and arginine to promote stronger, healthier-looking lashes,” she says.

“Not only does it have a perfectly bristled brush that coats and separates all my lashes, but the deep brown color adds just the right amount of pop to my eyes without being overwhelming like some black mascaras can be. I prefer the subtle dimension it gives me. Best of all, it doesn’t budge an inch during the day, but comes off fairly easy at night,” says Glamour senior beauty editor Ariana Yaptangco.

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