i do this stuff


Witchsona commission for birbycakes of her and her sister.

potion/starlight/cute witch & charms/moonlight/elegant witch.

Image control by labels; JoJo

@srslycris posted excellent excerpts from JoJo’s interview with Fader. JoJo also had an interview with Lenny that I got in my email today, with some interesting comments that weren’t in the Fader interview, that really focus on how much control her label had over her image. There’s a lot of discussion about weightloss so if you find that triggering perhaps don’t read it:

[JoJo] didn’t stop making music during that time, but she was stuck in legal limbo with her label. Blackground launched in 1994 with Aaliyah as its first artist. The last album it released was a Timbaland record in 2009, after which it ceased to be active. JoJo’s contract with Blackground, via imprint label Da Family Records, prevented her from releasing any music. A few years prior, when JoJo was shifting gears from child prodigy into her teen years, she says she started getting some troubling input from execs at her label about how she should look, what she should wear, and how much she should weigh. She also says there were threats to withhold her album until she lost weight, and insinuations that if she wanted to move on to more adult material she’d have to dress the part.

In 2013, she filed a lawsuit against the labels to extract herself from their control.

CES: You had to reclaim agency over your mind and your body in the course of your career. How do you do that, once someone in a position of authority over you has told you that they have some idea of what you should be doing or how you should look?

J: God, it’s so deep-rooted for me, because I truly thought that that’s just how it is. I didn’t think I had a choice for a long time. My first album I was recording at age 12, and I think it’s natural that people will help shape your identity behind the scenes [at that age]. I was cowriting some songs, but I certainly wasn’t entrenched in the image aspect of it. I just tried on clothes and would say if they were cute or cool. No one really talked about my weight to me.

I felt creatively involved in my second album, I really did. I didn’t feel like I was a puppet or being manipulated. But after that, it got weird. As I got older, my label [at the time, Blackground] started to lose their footing — they didn’t want to be involved in music anymore, but they didn’t want to let me go. It was very strange.

I had never really thought about the way I looked. It made me extremely self-conscious, honestly. It made me question everything I ate and drank. I was on injections called HCG [to lose weight], and I couldn’t believe they wanted me to take such extreme measures. They told me my album wouldn’t come out unless I looked right. To them that meant me losing a significant amount of weight — mind you, I’ve never been above a size four. It really, really messed with my mind.

CES: Who were the people telling you that?

J: It all stemmed from the record label and trickled down from there. I was sat down in a room with the president of the label, and he said, “You know, we’re just thinking of your health. We want you to look and feel healthy and be your best.” I put my hand up to silence him. I said, “Let me stop you right there. I’m the picture of health. I live a balanced life. I’m active, I eat what I want, I get my vegetables in. Don’t try to make this about my health, because you know damn well this isn’t about my health. This is about me looking the way that you think a pop star is supposed to look.” He didn’t have anything to say in response to that.

All of the emphasis is mine. 

I would also like to point out that all of this was done by a label on its way out, not at the top of its game. If they can do pull this kind of stuff and she had to file a lawsuit to get out from under them… well. It’s a hint as to what labels with clout and power are capable of. 

anonymous asked:

Yup, same on Cas to be honest. I can understand him not being there in the final scene, since the emphasis was put on Mary reconnecting with her sons (although given how pronounced the 'Cas is family!' theme has been lately I would have loved to see him being included), but they honestly couldn't insert a single line to explain why he just randomly vanished in the end? I mean, he technically lives in the bunker now, doesn't he?

Yeaaaah now that I’ve had some time to think about it all I’m not letting bucklemming get away with this one. It’s sloppy writing, full stop.

They could’ve given us like 10 seconds where Cas excuses himself when they get back to the bunker and Dean protests, saying that Cas should join them for dinner. But Cas just sends him a Look and says that he doesn’t want to intrude on their reunion, and that he’ll join them tomorrow for breakfast, retreating to his room before Dean can protest and reiterate that they’re family.

I mean, it would still be kinda heartbreaking cause we know Cas is still struggling with his feelings of self-worth and just because Dean called him their brother doesn’t mean that his insecurity about his place with the Winchesters is just going to go away magically. It’s a process that will take time. But just by having a scene like that, it would 1) explain Cas’s absence, and 2) even get in some character development.

But the situation now is just…we don’t even know if Cas IS in the bunker? Or did he just randomly fuck off somewhere? And why? We know he wants to pursue Lucifer but I’m pretty sure there has to be SOME kind of conversation about that before he skips off. If we don’t get one in the next ep, or even the ep after that (cause I don’t think Cas IS in the next ep) I am going to be MIGHTY pissed.

The pursuit of Lucifer is a huge motivator for Cas this season. To think that we won’t even see 30 seconds of Dean and/or Mary and/or Sam discussing it with him is LUDICROUS and plain old shitty writing.

I think it was @elizabethrobertajones who said that buckemming simply don’t know what to do with Cas so they just….kinda ignore him and hope he goes away or something? Sorry I can’t find the post with your viewing notes anymore, Liz, but please correct me if I’m wrong.

In any case, that’s how I feel bucklemming treat Cas. Like he’s some kind of weird alien anomaly and they have no idea what to do with him. So if they can get away with giving him as little as possible to do (see also Cas standing in a bush and Cas waiting outside while the action is going on inside) they’ll do it.

*Sighs* You started off good, SPN, but bucklemming has put you on probation again (also because of their treatment of Sam). You better pull yourself together show, or we’re gonna have words *wags finger*

rasmusmwh  asked:

Are the boys (atleast Tony) fans of Pink Floyd? Interests me after seeing the Animals t-shirt on Tony, and what kind of music are they both into? ( Apologies if it has been asked before, pretty new around here. c: )

tony loves pink floyd! other favorites of his are queensryche, sisters of mercy, ramones,,,,and more

dean is a big fan of nine inch nails, the cure, electric hellfire club,,,and MORE


》Oh my back’s up against the wall
I feel guilty, I feel guilty
You want nothing in return
I feel guilty, I feel guilty《

Hux from MySpace au by @horatiosroom

Night means, for all women, a choice: danger or confinement. Confinement is most often dangerous too–battered women are confined, a woman raped in marriage is likely to be raped in her own home. But in confinement, we are promised a lessening of danger, and in confinement we try to avoid danger. The herstory of women has been one of confinement: physical limitation, binding, movement forbidden, action punished. Now, again, everywhere we turn, the feet of women are bound. A woman tied up is the literal emblem of our condition, and everywhere we turn, we see our condition celebrated: women in bondage, tied and bound. Actor George Hamilton, one of the new Count Draculae, asserts that “[e]very woman fantasizes about a dark stranger who manacles her. Women don’t have fantasies about marching with Vanessa Redgrave.” He doesn’t seem to realize that we do have fantasies about Vanessa Redgrave marching with us. The erotic celebration of women in bondage is the religion of our time; and sacred literature and devotional films, like the bound foot, are everywhere. The significance of bondage is that it forbids freedom of movement. Hannah Arendt wrote that “[o]f all the specific liberties which may come into our minds when we hear the word ‘freedom,’ freedom of movement is historically the oldest and also the most elementary. Being able to depart for where we will is the prototypal gesture of being free, as limitation of freedom of movement has from time immemorial been the precondition for enslavement. Freedom of movement is also the indispensable condition for action, and it is in action that men primarily experience freedom in the world.” The truth is that men do experience freedom of movement and freedom in action and that women do not. We must recognize that freedom of movement is a precondition for freedom of anything else. It comes before freedom of speech in importance because without it freedom of speech cannot in fact exist. So when we women struggle for freedom, we must begin at the beginning and fight for freedom of movement, which we have not had and do not now have. In reality, we are not allowed out after dark. In some parts of the world, women are not allowed out at all but we, in this exemplary democracy, are permitted to totter around, half crippled, during the day, and for this, of course, we must be grateful. Especially we must be grateful because jobs and safety depend on the expression of gratitude through cheerful conformity, sweet passivity, and submission artfully designed to meet the particular tastes of the males we must please. We must be grateful–unless we are prepared to resist confinement–to resist being locked in and tied up–to resist being bound and gagged and used and kept and kept in and pinned down and conquered and taken and possessed and decked out like toy dolls that have to be wound up to move at all. We must be grateful–unless we are prepared to resist the images of women tied and bound and humiliated and used. We must be grateful unless we are prepared to demand–no, to take–freedom of movement for ourselves because we know it to be a precondition for every other freedom that we must want if we want freedom at all. We must be grateful–unless we are willing to say with the Three Marias of Portugal: “Enough./It is time to cry: Enough. And to form a barricade with our bodies.”


Andrea Dworkin

Part I


The Night and Danger