This CSS code defines the “Guardian Headline Full” font family with various weights and styles, providing multiple file formats (WOFF2, WOFF, TTF) for each variant to ensure compatibility across different browsers.This CSS code defines several font families for the Guardian Headline and Guardian Titlepiece fonts, specifying their sources in different formats (WOFF2, WOFF, and TrueType) along with their font weights and styles. It also includes responsive design rules for the main content column in interactive layouts, adjusting margins, widths, and positioning based on viewport size. For instance, on wider screens, it adds a left margin and a border, while on smaller screens, it adjusts element widths and positions to fit the display. The styles ensure that elements like paragraphs, lists, and immersive components adapt appropriately across devices.For the interactive main column, a left border is added before the content, positioned 11 pixels to the left. Elements within this column have no top or bottom margin but include 12 pixels of padding on both top and bottom. When a paragraph is followed by an element, the padding is removed, and margins of 12 pixels are applied instead. Inline elements are limited to a maximum width of 620 pixels, and for screens wider than 61.25em, inline figures with a specific role also adhere to this width limit.
Color variables are defined for various elements, such as dateline, header border, caption text, and more, with a feature color set to red and a new pillar color defaulting to the primary pillar or the feature color.
Elements with the class ‘element-atom’ have no padding. Specific conditions apply to the first paragraph following certain elements or horizontal rules in different content areas, adding 14 pixels of top padding. Additionally, the first letter of these paragraphs is styled with a large, bold, uppercase font in a specific color, floating to the left with a margin.
Horizontal rules followed by paragraphs in these areas have no top padding.Pullquotes within specific content areas are limited to a maximum width of 620 pixels.
For showcase elements in main articles, features, standard articles, and comments, captions are positioned statically with full width up to 620 pixels.
Immersive elements span the full viewport width minus scrollbar width. On screens up to 71.24em wide, these elements are capped at 978px with caption padding of 10px. Between 30em and 71.24em, caption padding increases to 20px. For medium screens (46.25em to 61.24em), the maximum width is 738px. On smaller screens (up to 46.24em), immersive elements align to the left edge with adjusted margins and padding.
The furniture wrapper uses a grid layout on larger screens (61.25em and up), organizing title, headline, meta information, standfirst, and portrait sections. Headlines feature a top border, meta sections have top padding, and standfirst text includes specific styling for links and borders. Figures within the wrapper have no left margin and a maximum width of 630px when inline. On very large screens (71.25em and above), the grid columns are reconfigured for a different layout.The layout uses a grid with specific columns and rows for different screen sizes. For smaller screens, the grid has three columns and rows with fixed and automatic heights. A thin line appears above the meta section, and the standfirst section has a vertical line on its left side with no top border on paragraphs.
On larger screens, the grid expands to more columns and fractional row heights. The meta line widens, and the standfirst’s vertical line shifts slightly left. Headlines have a maximum width and font size that increase on bigger screens, with the largest screens displaying a 50px font.
Some elements like lines and social comment features are hidden or adjusted on medium and large screens. The standfirst section has negative margins and padding, with specific font styles and padding below paragraphs.
Main media images are positioned relatively, taking full width and adjusting margins based on screen size, with captions absolutely positioned at the bottom with custom background and text colors.The CSS code defines styles for a furniture wrapper component, including its layout, colors, and responsive behavior across different screen sizes. It sets background colors, text colors, and border styles using CSS custom properties for themes like dark mode. The wrapper adjusts margins, padding, and positioning on larger screens, and includes rules for hiding or showing elements such as captions and social media buttons. Headlines and meta information are styled with specific fonts and colors, and interactive elements have hover effects for user engagement. Media queries ensure the design adapts from mobile to desktop views.This CSS code defines styles for elements within a container with the class “furniture-wrapper.” It sets text colors to light gray (#dcdcdc) for meta elements and standfirst paragraphs, and uses custom properties for link colors that adapt to dark mode or pillar themes. Links in the standfirst section are underlined with specific offsets and colors, removing borders and background images.
For larger screens (min-width: 61.25em), the first paragraph in the standfirst gets a top border, which is removed on even larger screens (71.25em). The code also creates decorative sidebars using pseudo-elements (:before and :after) that adjust their width and position based on viewport size, featuring dark backgrounds and bordered edges.
Additionally, it styles SVG elements with strokes matching the header border color and ensures social and comment elements in the meta section inherit the appropriate colors without additional background effects.The comment section has a border color that matches the header’s border color.
In articles, second-level headings (h2) within the main body use a light font weight of 200. However, if an h2 contains a strong element, it switches to a bold weight of 700.
The Guardian Headline Full font family includes various styles and weights, each with specific file sources in WOFF2, WOFF, and TrueType formats:
– Light (weight 300, normal style)
– Light Italic (weight 300, italic style)
– Regular (weight 400, normal style)
– Regular Italic (weight 400, italic style)
– Medium (weight 500, normal style)
– Medium Italic (weight 500, italic style)
– Semibold (weight 600, normal style)
– Semibold Italic (weight 600, italic style)This CSS code defines several font faces for the “Guardian Headline Full” font family, each with different weights and styles (normal and italic), ranging from semibold (600) to black (900). It specifies source URLs for each font in WOFF2, WOFF, and TrueType formats. Additionally, it defines the “Guardian Titlepiece” font with a bold weight (700) and normal style.
The code also sets CSS custom properties (variables) for dark mode backgrounds and feature colors, adjusting them based on the user’s preferred color scheme or when the site is viewed on iOS or Android devices. It includes specific styling for the first letter of paragraphs in article containers on iOS and Android platforms, particularly when they follow certain elements like atoms or sign-in gates.For Android devices, the first letter of the first paragraph in standard and comment articles is styled with a secondary pillar color. On both iOS and Android, article headers are hidden, and the furniture wrapper has specific padding. Labels within the furniture wrapper use a bold, capitalized font in a headline style with a new pillar color. Headlines are set to 32px, bold, with bottom padding and a dark color. Images in the furniture wrapper are positioned relatively, with adjusted margins and width, and their inner elements, images, and links are styled accordingly.For Android devices, images within article containers are set to have a transparent background, span the full viewport width minus the scrollbar, and adjust their height automatically.
On both iOS and Android, the article summary sections have top and bottom padding of 4px and 24px respectively, with a right margin offset of -10px.
The text in these summaries uses the Guardian Headline font family or similar serif fonts.
Links within the summaries are styled with a specific color, underlined with a 6px offset, and use a designated color for the underline, removing any background images or borders. When hovered over, the underline color changes to match the link color.
Additionally, metadata sections in articles on both operating systems have consistent styling.For Android devices, the meta section in standard and comment article containers has no margin.
On iOS devices, the byline and author information in feature, standard, and comment articles use the new pillar color. This also applies to Android devices for feature articles.
For both iOS and Android, the miscellaneous meta section in feature, standard, and comment articles has no padding, and any SVG icons use the new pillar color.
The caption button in showcase elements for feature, standard, and comment articles on both iOS and Android is displayed as a flex container, centered with 5px padding, 28px in width and height, and positioned 14px from the right.
The article body in feature, standard, and comment articles on iOS and Android has 12px padding on the left and right sides.For iOS and Android devices, in feature, standard, and comment article containers, images that are not thumbnails or immersive will have no margin, a width of the full viewport minus 24 pixels and the scrollbar width, and an automatic height. Their captions will have no padding.
Immersive images in these containers will span the full viewport width minus the scrollbar width.
Quoted blockquotes in the article body will display a colored marker using the new pillar color.
Links within the article body will be styled with the primary pillar color, underlined with an offset, and use the header border color for the underline. On hover, the underline color changes to the new pillar color.
In dark mode, the furniture wrapper background will be set to a dark gray (#1a1a1a).For iOS and Android devices, the following styles apply to feature, standard, and comment article containers:
– Content labels use the new pillar color.
– Headlines have no background and use the header border color.
– Standfirst paragraphs and links use the header border color.
– Author names and links in the meta section use the new pillar color.
– Icons in the meta section have a stroke in the new pillar color.
– Captions for showcase images use the dateline color.
– Quoted blockquotes in the article body…For iOS and Android devices, the text color of quoted blocks in article bodies is set to a new pillar color.
Additionally, the background color for various article body sections on both iOS and Android is changed to a dark background, using an important flag to ensure it overrides other styles.
Furthermore, for the first letter following specific elements in article bodies on iOS, a special styling is applied, though the exact style isn’t specified here.This appears to be a CSS selector targeting the first letter of paragraphs that follow specific elements in various article containers on iOS and Android platforms. The selector applies to different sections like article bodies, feature bodies, comment sections, and interactive content areas, specifically looking for paragraphs that come after elements with class “element-atom” or sign-in gates.This CSS code defines styles for specific elements on Android and iOS devices. It sets the color of the first letter in paragraphs following certain elements to white or a custom variable color. It also adjusts padding and margins for standfirst elements in comment articles, sets font sizes for h2 headings, and modifies padding for caption buttons.
For dark mode, it changes text and icon colors to lighter shades and defines a dark background color. Additionally, it hides article headers by making them fully transparent and applies styles to furniture wrappers, though the code is incomplete for the latter.For iOS and Android devices, the article container’s furniture wrapper has no margin. Within this wrapper, content labels in feature, standard, and comment articles use a color defined by the new pillar color variable, defaulting to the dark mode feature color.
Headlines in these articles are set to a light gray color (#dcdcdc) and are marked as important.
Links in the article header or those with the data attribute for the title also adopt the new pillar color, with the same dark mode fallback.
Before the meta section or elements with the meta data attribute, a repeating linear gradient is applied as a background, creating a dashed line effect using the header border color.
The byline text within the meta section is displayed in light gray (#dcdcdc).For iOS and Android devices, the following styles apply to links within the meta section of feature, standard, and comment article containers:
– Links are colored using the new pillar color or a dark mode feature color.
– SVG icons in the meta miscellaneous section have their stroke set to the same color.
– Alert labels display in a light gray color (#dcdcdc) with important priority.
– Spans with data-icon attributes also adopt the new pillar or dark mode feature color.For iOS and Android devices, the color of icons within the meta section of feature, standard, and comment article containers is set to the new pillar color or a dark mode feature color.
On larger screens (71.25em and above), the meta section in these containers displays a top border using the new pillar color or the header border color. Additionally, the meta miscellaneous elements have their margin reset and are indented by 20 pixels from the left.
Paragraphs and unordered lists in the article body of these containers are limited to a maximum width of 620 pixels.
Blockquotes with the “quoted” class in the article body’s prose section also receive specific styling for both iOS and Android platforms.Rosalía Vila Tobella shares your weariness with pop music that serves as gossip material, filled with lyrics alluding to rivalries and betrayal. “I’m growing tired of seeing people mention celebrities, and celebrities mentioning other celebrities,” she remarks. “I find saints far more intriguing.”
The 33-year-old Catalan musician and producer’s ambitious fourth album, Lux, draws inspiration from the lives of numerous female saints, exploring themes of feminine mysticism, spirituality, and how paths involving murder, materialism, and rebellion could lead to sainthood. Rosalía lists them effortlessly. Her gothic, operatic new single Berghain takes cues from the 12th-century German abbess Hildegard of Bingen, who is now referenced as frequently as Madonna.by experimental female musicians). “She had visions that would pierce her mind. There’s also Vimala, a poet and prostitute who became a saint as one of the first women to contribute to the Therīgāthā,” an ancient collection of Buddhist poems written by nuns.
Rosalía continues with the story of Santa Olga de Kyiv from the 10th century, a Protestant figure. “She was considered a saint for converting many to her religion, yet she was also an assassin—after her husband’s murder, she killed numerous men in revenge. It’s astonishing that such a person could be canonized. Sainthood is interpreted so differently across religions, contexts, and cultures.”
Rosalía makes a compelling case for an alternative career as a lecturer; if she weren’t a pop star, she says she “would be in college studying theology or philosophy.” (Her breakthrough album, 2018’s El Mal Querer, was originally her flamenco degree thesis—likely the first instance of someone earning academic honors and Pitchfork’s Best New Music award for the same project.) Meeting in a central London hotel room in mid-October, she appears almost saintly with her waist-length dark hair, subtle makeup, and a pale grey long-sleeved jersey dress, exuding a quiet, convent-inspired elegance. She speaks softly and precisely, her assistant nearby for translation support, though she rarely needs it. Her guidance is essential to uncover the saints’ influences in Lux, which might otherwise be interpreted as a fierce confrontation with ex-lovers and critics.
Lux spans 18 tracks, features lyrics in 13 languages, includes two choirs, Patti Smith reciting a poem, collaborations with Björk and the London Symphony Orchestra, and draws inspiration from Ukrainian-Brazilian novelist Clarice Lispector and French philosopher Simone Weil. It’s an exhilarating and monumental listen, moving away from the South American club vibes of 2022’s playfully bold Motomami to highlight Rosalía’s classical flamenco roots. The former scholar infused tradition with avant-garde electronic production in her first two albums, 2017’s Los Ángeles and El Mal Querer. Her work has often faced accusations of cultural appropriation, given flamenco’s ties to Andalusian Gypsies and reggaeton and dembow’s origins in Latin American and Caribbean cultures. The culturally eclectic Lux also feels provocative, underscored by Rosalía’s mastery of diverse styles: a virtuosic display aimed at critics and imitators, as she menacingly raps in Latin and embodies flawless pop iconography. The week after our meeting, she dyes a halo into her hair.
While writing, Rosalía kept a world map on her wall with pins marking each saint’s story. “It was like a huge puzzle,” she says. “There was so much more I couldn’t include. My love is plural and infinite, and I tried to fit in as much as possible so everyone could feel welcome when they hear this album.” Some listeners may question her choice to sing in Hebrew and Arabic; her publicist advises against political inquiries, and Rosalía explains that those parts simply reference Sufi mystic Rabia and the prophet Miriam.
Being a performer, she notes, is about “being a channel, a vessel. It’s most fulfilling when you can stop being yourself. I admire artists like Nick Cave who embody otherness. Nowadays, more than ever, I feel it’s necessary to understand others. In a world that often feels divided, I collect stories and turn them into songs as best I can, because it’s love for others that enables me to create an album like this.”
What a…Rosalía’s unique status also allowed her to create an album like this. Regardless of what critics think of her global approach, the meticulous research she undertakes and the flawless execution are beyond reproach. “I always try to find ways to keep learning,” she says. While she’s learning French and German on Duolingo, she dedicated a year to collaborating with native speakers like Charlotte Gainsbourg and Justice to perfect the Lux translations. She also resumed piano lessons for the first time since quitting at age 16. Her pop culture savvy is equally impeccable: filming a role for HBO’s Euphoria season three, modeling for Calvin Klein, and being photographed bringing a bouquet of cigarettes to Charli XCX’s birthday party. On her brilliant Motomami tour, arguably the best of the decade, Rosalía was constantly followed by an invasive cameraman, a statement on voyeurism enhanced by portrait-mode big screens that sharply reflect how phones influence our perspective. She has mastered a level of fame that grants her three years to craft an album about God, transcendence, and absolution, even exceeding the budget multiple times.
Rosalía estimates she produced 97% of Lux alone. “It probably is the most demanding album I’ve ever tried to make,” she admits. Created in Los Angeles, away from her family and home in Barcelona, she found the solitude and isolation challenging. Yet, her work demands such asceticism. “I consider myself quite social, but to achieve something like this, there’s no alternative—it requires simplifying your day and focusing almost entirely on the project.” She writes best while lying in bed, explaining, “Ideas flow more easily when you let them come to you and create space to erase yourself and disappear.”
Although Rosalía might prefer to lose herself in the intoxicating world of Lux, the album’s spiritual themes often mask a classic breakup narrative. I’ve been advised not to inquire about relationships; in 2023, she ended her engagement with Puerto Rican reggaeton star Rauw Alejandro, shortly after releasing a collaborative EP celebrating their love. In her new song La Perla, she calls out an “emotional terrorist.” On Focu ‘Ranni, she sings, “I’d rather speak now than forever hold my peace,” possibly echoing Que No Salga la Luna from El Mal Querer, which was inspired by the abusive groom in the 13th-century Occitan text Flamenca: “if someone objects, may they not raise their voice.” Another saint she references, Rosalia, canceled her wedding the day before to live as a hermit.
This shared experience may have drawn Rosalía to stories of women overcoming their circumstances, though she’s reluctant to discuss it. Skilled at saying only what she intends, she deflects when asked if seeking spiritual guidance inspired Lux, replying, “Definitely, like all humans.” After a silent standoff where we both wait for the other to speak, she shares past examples.
At 16, Rosalía underwent vocal cord surgery to repair damage from her enthusiastic but untrained singing. “I couldn’t speak for a month—it was strange, like a fast from talking, followed by a year of vocal rehab,” she recalls. “It took me many years to truly feel I could use my voice effectively.”
At 19, she spent 32 days walking the 500-mile Camino de Santiago alone across northern Spain, reinforcing her instincts for devotion and defiance. “Someone in my family said I wouldn’t be able to do it because I’m not…”I was physically prepared, but along the way, I met wonderful people who helped me, and I realized that if I could accomplish this, I could achieve other things too. A decade later, during the pandemic, I spent two years isolated in Florida while creating Motomami.
For Rosalía, faith was a source of strength during these challenges—the religious themes in her album Lux are genuine. She prays every night before sleeping, describing it as a very personal connection with God. As a child, her grandmother, whom she’s named after, took her and her sister Pilar to church. Rosalía recalls her grandmother’s deep Catholic faith and the beauty of the rituals, like everyone holding hands and singing together, regardless of who was beside them. She cherishes the sense of community that forms when people come together and focus on something greater than themselves. She reads the Bible regularly, particularly enjoying the Gospel of Matthew, which she compares to powerful rap lyrics for its impactful messages.
Rosalía doesn’t approach faith with strict reverence. In her song “Divinize,” she sings in English about being made to divinize, comparing her vertebrae to rosary beads. “Reliquia” references her habit of cutting a lock of hair to give to fans each night on her Motomami tour. “God Is a Stalker” explores a first-person divine perspective, and the album’s mix of languages suggests a godlike omniscience. In “Novia Robot,” a playful yet intense track, she criticizes men who desire submissive, emotionless women and declares she’s “hot for God.” She admits to second-guessing herself when using symbolism but believes art’s beauty lies in presenting ideas and raising questions, often leading to more inquiries than answers—and that playfulness is essential for creativity.
It’s likely Rosalía will face more criticism for Lux. Some fans were disappointed by her comment in Le Monde that she disconnected from her phone to focus on recording, which meant she wasn’t engaged with conflicts in Palestine and Ukraine. In response to a fashion designer who questioned her silence on Palestine, she condemned the violence and expressed that shaming isn’t the best path toward freedom for Palestine. Other criticisms seem like inevitable parts of her career; a scroll through her social media reveals an alarming level of scrutiny and negative comments.
When asked if she feels misunderstood, Rosalía notes the prevalence of cancel culture online and calls for more forgiveness. She wouldn’t cut off a friend over differing opinions and always strives to learn and improve. She resonates with Roland Barthes’ idea of the anti-hero who embraces contradiction without shame, acknowledging that everyone has contradictions in an imperfect world. Her mission is to create music from a place of love.
Spanish media began to criticize Rosalía when she blended pop with flamenco, and later for Motomami’s sexual lyrics and her provocative social media presence. Lux challenges the respectability often expected of women.
Rosalía copes by drawing inspiration from irreverent women like Joan of Arc, Aretha Franklin, Nina Simone, Patti Smith, and Cher—divas who have paved their own paths.”They carry the weight and they support. Endure.” She hunches under an imagined burden. “And that is my inspiration. What I love about them is that they are unapologetic about what they want, what they do, and the path they take. That’s a guide, a lighthouse. Over time, ‘diva’ has had a negative connotation, but nowadays I don’t feel it carries the same meaning, and I celebrate women who are unapologetic and forge their own paths.”
Rosalía at Primavera Sound in Madrid, 2023. Photograph: Mariano Regidor/Redferns for ABA
She won’t say whether she feels like a diva—”that’s something you can maybe answer”—but she’s more emphatic about the demands for her to apologize. “I think whoever hears my music and my approach to making it knows that it comes from a love of trying to learn and share. I believe people understand my intention.”
Rosalía: Lux review – a demanding, distinctive clash of classical and chaos that couldn’t be by anyone else. Read more.
Rosalía may be a bit naive about politics and rely on the purity of her musicianship, but her truly peerless work makes it easy to overlook those concerns, presenting clashes that are as thrilling as they are enlightening if you engage with her on her level. She discusses Berghain. In this song about dissolving to accommodate a lover’s fear and anger, Björk sings about the need for “divine intervention,” quickly followed by another take on the idea, with Yves Tumor reprising Mike Tyson’s 2002 tirade at Lennox Lewis: “I’ll fuck you ’til you love me.”
Many have assumed the song is named after the Berlin techno club—the made-up word combines the neighborhoods Kreuzberg and Friedrichshain—though Rosalía says she’s drawing on the technical translation, “mountain grove.” “We all have this forest of thoughts inside us where you could get lost,” she says. “I’m not glorifying evil, but darkness is present in life. It reminds me of a quote I really like: ‘The artist who walks beside the devil, putting a hand on his shoulder, can expand our understanding of wickedness.’ I agree so much. Sometimes, when you place opposites beside each other, you can understand both better.” Lux is Latin for light. “There had to be darker passages in order for the light to shine even brighter.” Lux is out now on Columbia.
Frequently Asked Questions
Of course Here is a list of FAQs inspired by the quote from Rosalía designed to be clear concise and helpful
General Beginner Questions
1 What does Rosalía mean by a world full of contradictions
She means that the world is a complex place where opposing ideas beliefs and situations exist sidebyside making it natural for us as individuals to also have our own internal contradictions
2 Why does she say its inevitable to have contradictions ourselves
Because we are products of our environment If the world is full of conflicting messages and realities its only natural that we absorb some of that complexity leading to our own conflicting feelings thoughts or actions
3 What kind of contradictions might she be talking about
This could refer to anything from loving pop culture while also valuing deep tradition feeling confident on stage but shy in private or pursuing a glamorous career while maintaining a strong private spiritual faith
Deeper Advanced Questions
4 How does her spiritual passion for God fit into this idea of contradictions
For many faith can seem like a contrast to the modern secular world of pop music For Rosalía it might not be a contradiction but a grounding force that helps her navigate and make sense of the other complexities in her life and career
5 What does her perspective on contradictions tell us about dealing with critics
It suggests that she understands that not everyone will understand her artistic choices By accepting that contradictions are inevitable she can likely process criticism without it shaking her core identity or vision
6 How can embracing contradictions help during a personal or creative crisis
Accepting that its okay to hold conflicting feelings or ideas can reduce internal pressure It allows you to explore different solutions without feeling like you must choose one correct path which can be freeing during a crisis
Practical Application Tips
7 Can you give an example of a common contradiction people experience
A very common one is wanting stability and security in a job while also craving adventure and the freedom to travel or change careers
8 Is it a bad thing to be contradictory
Not necessarily Contradictions are a sign of a complex thinking person They only become a problem if they cause significant distress or prevent you from making decisions and moving forward in your life
