Eh, I made this before Behind the Voice Actors announced the winners for its 2016 awards. I was confident that Cristina Pucelli would win the Best Female Vocal Performance in a Television Series category, yet she didn’t! However, the series cast snagged the Best Vocal Ensemble in a New Television Series award! I guess this still counts, right? :)
P.S.: The second sentence inside the speech bubble originally said, “I have a shiny future ahead!” I think “My future’s already shiny!” sounds better!
can you believe male artists literally go on stage in sweatpants and put little to no effort into their performances but female artists have to get custom bodysuits and learn 2+ hours worth of choreography to get half the fuckin recognition and critical acclaim like what kinda nastiness
“I couldn’t ask for a better group of friends to have in this room tonight, thank you so much for being here, all of you.” At his first ever solo show last night, Harry Styles spoke to the audience as if they were the organisers of his surprise birthday party rather than a crowd of strangers. But the intimacy felt appropriate: the former One Direction member is more familiar with Wembley Stadium and Madison Square Gardens than a tiny, sweaty room on the corner of Highbury and Islington roundabout.
On his Twitter feed, Styles announced at 8am on Saturday morning that a surprise gig would be taking place that evening at The Garage in London, ahead of his larger tour later this year to promote his debut solo album (the self-titled Harry Styles). Tickets were only available, for £10, if bought from the box office in person, and even then you could only buy one. All proceeds were to go to The Little Princess Trust, the charity that the singer donated his hair to last year, which provides wigs to children experiencing hair loss. Dedicated fans jumped out of bed seconds later to buy tickets, some still in their pyjamas.
The atmosphere inside was giddy as a result, ticket-holders delirious with luck. Styles, dressed in a frankly outrageous pink satin Gucci suit with embroidered dragons snaking up his thighs, seemed genuinely excited to be there too, telling the crowd he was “overwhelmed” by their support. “This is my first show in a long time. My first show ever. So it’s a night I won’t forget,” he said, adding “You might not be able to tell from my monotone voice, but I am having a great time.”
His years of experience in one of the music industry’s most polished pop bands are clear to see: for what was essentially a warm-up show, this was a sleek performance. Delivering his new album in its entirety, Styles was most impressive when letting loose on rockier, more upbeat tracks Only Angel and Kiwi (the latter saw women at the front form a mosh pit), or exuding Seventies sex appeal on Woman and Carolina.
Unlike at the rehearsal he held last week, he did not stage dive. “Let me tell you,” he explained of the much-reported calamitous attempt (which saw him knock a fan to the floor). “It doesn’t feel one third as cool as you think it does.”
As well as his solo material, Styles performed two other songs: an experimental riff on Kanye West’s “Ultralight Beam” and a much-loved One Direction track he has a writing credit on, “Stockholm Syndrome”. “You may or may not know the words,” Styles deadpanned, as the crowd screamed at the opening notes.
One of the loudest cheers of the entire event went not to the main man, but his drummer Sarah Jones, who has delighted Styles’s mostly female fanbase with her performances over the past few weeks. “Alright, that’s enough,” the star joked after introducing her. “That’s why she’s at the back.”
It’s a joy to watch Styles interact with a smaller crowd. He has a knowing, teasing relationship with fans, at one point asking the audience, “How you doing down there? You look very warm. There’s a smell…” But, this ribbing aside, his desire that everyone present have the best possible time was obvious, as he paused the show to check on a fan struggling with the heat, and sung Happy Birthday to another the front. It’s this combination of charm, ease, flamboyance, and an actually very good singing voice that sets Styles apart from his former bandmates and many of his peers. Could this be the rock star British pop music needs? - The Telegraph
How Taylor Swift Played The Victim For A Decade And Made Her Entire Career
Ok, so Buzzfeed released this article about Taylor Swift on January 31st and here are some key points that really stood up for me.
On Taylor´s feminism:“But, as the Washington Post pointed out: “There’s a difference between being a feminist and calling yourself a feminist. Feminism is more than just supporting your girlfriends or churning out charming catchphrases about girl power; it’s a political movement, with political aims.”
About Taylor´s squad: And, in actuality, her squad flouts inclusive feminist principles by being an exclusive club, and skews overwhelmingly white, slim, and heterosexual – and this is because Swift views feminism in relation to her own personal experience alone.
Again on Taylor´s feminism: Far from expressing feminist values through actual, tangible means – such as, for example, speaking publicly about Kesha’s alleged sexual assault, offering an opinion on Trump’s campaign and election, or acknowledging the Women’s March through means other than a contrived tweet – Swift invokes feminism to ensure her posture as victim.
On her feud with Katy Perry and the Bad Blood song: Put differently, she prevented the eruption of an undesirable rumour by creating a new one, which reveals Swift’s true genius: her ability to manipulate the lyrics and subjects of her songs in whichever way best suits her PR desires.
On her feud with Nicki Minaj and the lack of recognition for black women in the music industry: Swift has become such an expert at building narratives that she doesn’t just see herself as the victim in stories explicitly about her, but the subject of every story. (…) She prioritised herself at the centre of a struggle faced by women of colour, while ignoring the fact that the system inherently benefits her.
On the feud with Kim and Kanye about that line in Famous: The feud exposed the truth that white fragility is the most imperative component of Swift’s success. Performing white female melodrama has enabled Swift to establish her posture as victim and navigate any conflict with ease, devoid of culpability. But her conflict with West cannot be dismissed as an insignificant celebrity feud, leaving a trail of snake emojis in its wake – there are sinister undertones. It proved that Swift recognised the power her white womanhood affords her – presumed innocence and empathy – and used this to her advantage in repeated acts that she surely knew would damage West’s reputation and strengthen her own. Swift propagating this narrative of fragile white womanhood to villainise a black man is “ruthless” at best, and at worst, dangerous.
I think this article really explains why I don’t really like Taylor Swift and how her playing the role of the victim is really getting old and overused. No one believes she´s the victim and this has been shown ever since the ¨break up¨ with Harry Styles and overusing that one month relationship for over two years. And it became evident to the public how fake she really is with the Kanye and Kim feud and directly after that the whole deal with her ¨relationship¨ with Tom Hiddleston. So I finish this with the final paragraph of the article which summarizes my feelings in general about her.
She’s all about narratives, and the reinvention of her image is the start of a new one. The question is, however, after being exposed playing the victim in plain sight for over a decade, will anyone believe it?
I started thinking about the beauty procedures and products that had seemed normal to me growing up - padded bras, control tights, anti-wrinkle this and that, fake tan, make-up, shaving. Every time my friends and I bought these products we received a free gift at no extra cost: insecurity. We learned that without fake tan our skin was the wrong colour, without padding our breasts were the wrong size, without shaving our legs were unfeminine and without control tights our tummies were too big. We learned, in short, that our bodies needed fixing.
We are supposed to be the most progressive and transformative community in pop-culture.
Hyper-focus on white, male characters
Contort these male characters into heteronormativity
Marginalize and erase characters of color
Write out women and replace them with men, especially in shipping
Attack women for “getting in the way” of our preferred ships
Hold female characters to higher standards than male characters
Hold characters of color to higher standards than white characters
Latch onto any single excuse to marginalize female characters
Utilize any single excuse to demonize characters of color
Put women on pedestals and act as if we’re doing them a favor
Justify white and male abuses or dismiss them as “mistakes”
Use actual mistakes to denigrate female and non-white characters
Romanticize white, male pain and mental illness
Expect female characters to perform all the emotional labor
Expect characters of color to be perfectly mentally healthy forever
Expect everyone to subsume their own mental health for the white males’
Dismiss the traumas and experiences of characters of color
Minimize the achievements of female characters
And then we wonder why mainstream media is so regressive, especially compared to us. We all talk as if mainstream media creators are behind the times.
Fandom likes to imagine itself as being progressive because of all the slash - a mechanism of progress which conveniently boils down to extra attention on overwhelmingly male (and overwhelmingly white) characters. This form of progress is one which takes a minor deviation from the social norm (homosexuality), only to end up ultimately supporting or even amplifying the status quo, by virtue of over-focusing on male characters (and over-representing white ones in the process).
Strip back that gay window dressing, though, and you’ll see that at best, fandom is just as socially stagnant as mainstream media and mainstream culture - or even worse, by virtue of engaging in media that overwhelmingly sidelines several other marginalized groups in order to prop up one.
Professional women have long known the old adage, “Whatever women do they must do twice as well as men to be thought of half as good.” What no one seems to realize is that fandom is still doing exactly the same thing.
We expect female characters to be twice as good for half the acclaim, we expect characters of color to be three times as good for a third of the acclaim, and we let white, male characters be only a quarter as good for four times the acclaim.
Mainstream media is keeping up with the times and with social progress just fine, it’s us who’ve deluded ourselves into believing that we, as a community, are more progressive than we actually are.
In addition to being thin, women (particularly in the west) are expected to maintain the illusion of hairlessness. Any sign that puberty might have bestowed upon us a spray of fuzz beneath our arms or a thatch of fur between our legs has to be eliminated immediately. Waxing, shaving, plucking, electrolysis - women have to fork out precious financial resources just to achieve what is then laughably passed off as a ‘natural’ state. For men and women similarly invested in maintaining patriarchal notions of gender performance, hair on women seems to be oddly terrifying.
* Made with Canon SX 700HS , this shot, shoes a little bit more, who is taking pictures in her blog *( me )*.Self portrait, is a very difficult way to communicate. Trough a complex of locations, ideas, performs , body language and dresses, I try every day to use it as a therapy for my soul. Something that allow me to explore myself, ( states of mind included ), and establish a connection with the external world . I truly appreciate the support I receive everyday from Tumbrl family , and in this occasion, I thank the only person who really initiated me, one of the most talented artists , Vogue photographers
I’m reading a book about midwifery in New England in the
eighteenth century and I’m struck by how pro-woman their treatment of birth was
compared to how it’s done today.
Like, it was the norm for labouring women to be surrounded
by a midwife and several female friends who all performed some kind of function
to aid the woman in delivering her baby safely. Male physicians hated the social tradition and dismissed
the gathering of women as facilitating “gossip” and as a hindrance on the rare
occasion they attended a birth.
The work of midwives was so valorised that many town maps
from this period clearly identify where every midwife was located, and paying
the midwife was one of the biggest household expenses alongside taxes.
Midwives developed their own manuscripts full of medicinal
remedies for all aspects of reproduction. Birth was managed by women
themselves – it was a collective female ritual.
Male obstetricians, motivated in my opinion by a deep-seated
envy of women’s reproductive power, began to steal and suppress women’s wisdom
around childbirth in the nineteenth century, and by the twentieth century unnecessary
medical intervention in childbirth had exploded.