the one in the hampton's was so hot!

Jay-Z, Natane Adcock, Aaliyah and Puff Daddy, photographed at Roc-A-Fella Records’ “Big Pimpin’ Party and Barbecue,” held in East Hampton on July 3, 2000.

Since 1997 Hov and the Roc-A-Fella Records family had been renting mansions (which often came with a $30,000-a-week rent tag) and hosting Summer-long parties for their family and friends. The festivities would culminate in a massive Independence Day soirée, complete with a Roc-themed menu and VIP guest-list. That year they had booked the club Conscience Point to host the “Big Pimpin’ Party,” but two weeks before invites were sent, the party started to get too hot for its own good. “We were getting 20 to 30 calls a day, without invitations,” his publicist Lizzie Grubman remembers. And so the Tuesday before the party, Jay and Dame Dash asked Grubman to change the venue to Jay’s rented mansion. In line with the permit issued by the East Hampton town board, they cut the guest list to only 150 close friends and shut off the music promptly at 11 ‘clock.

During one of her last interviews, with journalist Touré at Jay’s Hamptons mansion just two weeks before her untimely passing in August 2001, Aaliyah said this about her close friend: “He is the sweetest person. I have so much fun when I’m with him. I admire him because he’s an amazing talent, and on top of that he’s a beautiful person. He’s really good people.”

Culinary History (Part 20): Turning the Spit

The spit had to be turned, and the job was a dreadful one.  It was done by the turnspit, or turnbroach, who was usually a boy.  John Aubrey wrote, “In olden times, the poor boys did turn the spits, and licked the dripping pans.”

In the early 1500’s, Henry VIII’s household had many turnspits in the kitchen.  They crammed themselves into cubbyholes beside the fireplace, and it would have been extremely hot.  Until 1530, the kitchen staff at Hampton Court worked either naked or in little clothing.  Henry VIII addressed the situation by giving the junior staff a clothing allowance, so now they were even hotter.

It wasn’t just noble households that had turnspits.  In 1666, the lawyers at London’s Middle Temple had one “turnbroach”, two scullions, an under-cook and a head cook.

Children worked as turnspits well into the 1700’s.  John Macdonald (1741-96) was a famous footman, and he wrote about his experiences in service.  He was sacked from a job rocking an baby’s cradle, and found his next job as a turnspit in a gentleman’s house, at the age of only 5yrs.

However, by the time Macdonald was a turnspit, it wasn’t all that usual for a child to do the job, for it had been taken over by animals.  This change had gradually happened over the 1500’s & 1600’s.  In 1576, a book about English dogs defined a turnspit as “a certain dog in kitchen service”.  These dogs were forced to walk like a guinea-pig in a wheel about 0.75m in diameter, suspended from a wall near the fireplace.  The wheel was connected to the spit by a pulley.

Some cooks used geese instead of dogs.  In the 1690’s, it was written that they were better than dogs, because they kept going for longer (sometimes up to 12 hours).  In the 1700’s Thomas Somerville said that the dogs “used to hide themselves or run away when they observed indication that there was to be a roast for dinner.”  So perhaps dogs were smarter, too.

Dogs were still being used as turnspits well into the 1800’s.  Henry Bergh was an animal-rights activist, and he campaigned against this abuse, along with other things such as bear-baiting.  While this gave some stigma to the practice, it didn’t change for the better. Several times when paying surpise visits to kitchens to check for dogs, he found that young black children were doing the job instead.

But mechanization ended the abuse of children, dogs and geese in the kitchen (at least in this sense).  Inventors had been working on mechanical jacks since the 1500’s.  Peter Kalm (a Swedish naturalist) said in 1748 that the “meat jack” was “a very useful invention, which lightens the labour amongst a people who eat so much meat.” He claimed that “every house in England” had a simply-made weight-driven jack, but this was unfortunately an exaggeration – inventories show that about only half did.  Still this was pretty good.

The basic mechanism of a spit-jack was a weight on the end of a cord, which was wound around a cylinder.  The weight descended slowly, and the energy was transmitted to the spit/s, by a series of cogwheels & pulleys.  Some jacks rang a bell when the spit stopped.  These jacks were sometimes called “gravity jacks” because of how they worked.

There were other types of spit-jacks.  Smoke-jacks used the updraught from the fire to power a vane.  They were cheap, and didn’t need winding up.  But they were dreadfully wasteful of fuel – in 1800, it was worked out that 1/1000 of the fuel needed for a smoke-jack could power a small steam engine.  Huge amounts of wood or coal had to be kept burning in the fire for it to work.

Spit-roasting was a key part of British cuisine, so much energy and effort was put into spit-jacks and improving them.  Water, steam and clockwork were tried.  Spit-jacks were the espresso machine of the day – the new technology that many kitchens had, while the rest of the kitchen objects had been around for aeons.

By the mid-1800’s, the spit-jack was on the way out, because open-hearth cooking was being superseded by ovens.
Karlie Kloss embraces a post-Memorial Day sanctioned white
The 24-year-old stepped out in an understated ensemble in New York on Tuesday.

Style in black and white! Karlie Kloss wears a simply chic look as she embraces a post-Memorial Day sanctioned shade

By Chelsea White For
PUBLISHED:  31 May 2017

While it may be a little chilly to wear a summer look just yet, post the unofficial kick off of the season, this model was at least embracing one of its colors.

It is often said you can only wear white between Memorial and Labor Day, so after wrapping up a long weekend in the Hamptons, Karlie Kloss made sure to incorporate white into her look.

The 24-year-old stepped out in an understated ensemble in New York on Tuesday.

White hot: It is often said you can only wear white between Memorial and Labor Day, so Karlie Kloss made sure to incorporate white into her look in New York on Wednesday (Tuesday)

For her stroll, Karlie embraced summer white with some flowing wide leg pants.

But of course, it is still a little chilly out, so the catwalk star kept warm by wearing a black long sleeve top which clung tightly to her curves.

The tall beauty added a pair of pointed flats and further accessorized her look with some gold reflective frames.

The cakewalk star wore her golden locks tied up in a messy ponytail from which little bits of hair escaped around her face.

Balck and white: For her stroll, Karlie embraced summer white with some flowing wide leg pants. But of course, it is still a little chilly out, so the catwalk star kept warm by wearing a black long sleeve top which clung tightly to her curves

Daily Mail

Fic Recs #9

Part 1, Part 2, Part 3, Part 4, Part 5, Part 6, Part 7, Part 8

There are a few perks to having nothing to do, guys. I can read as much fanfiction as I want.


But really, I love you. And I’m so happy you all love fic as much as I do.

(Hey @realityisoverrated-fic, have some more light summer reading!)

Originally posted by julianamoreth

You’re Banging My Bedroom Wall by @angelqueen87 - Fluffy and FUN. Felicity moves into a new apartment and her neighbor keeps bringing home women every night and ENTERTAINING them VERY LOUDLY. The chapters are short, but the author updates so frequently I don’t even care! Super fun read for those sick of the angst and drama.

The Summer People by @olicitysmoaky - ARROW IN THE HAMPTONS. I mean, it’s AU and no one is a vigilante, but still. Felicity is spending the summer babysitting her famous cousin’s kids in the Hamptons. She happens across one Oliver Queen and things escalate from there.

Oliver Queen is a Mance - Yoga Oliver AU by @thealternativesource - The first part of an adorable series. Felicity is stressed - being a QC VP is harad work - so Sara signs her up for a yoga class. For some reason, everyone in the company keeps trying to buy her spot. CUTE CUTE CUTE AND SO FLUFF. The rest of the series is equally as adorable.

Working Out the Kinks by @dettiot - Felicity Smoak is a yoga instructor who was hired to start the yoga program at Battlefield Fitness. Oliver is the super hot spinning instructor. Annoyance ensues and sparks fly.

looking down from a great height by @wagamiller - Oliver has gone off to fight Ra’s and “died.” Felicity is dosed with Vertigo and it shows her her worst fears: her entire team dead. But all is not as it seems. Angsty but really, really beautiful.

Two Ships in the Night by @overwatchqueens - Oliver and Felicity are both military brats, constantly moving. They meet when they’re kids and begin an epic friendship that will span their whole lives. Basically, fluff, romance, ANGST, relationships, and more! I cried. I smiled. I made heart eyes at my phone.

Originally posted by nataliedormier

What Happens In Russia… by @hope27 - Another one of my favorite fic plots: the trip to Russia. Just read it. You won’t regret it. I promise.

Cabin in the Woods by @geneeste - Team Arrow has to stake out a potential arms deal, so they decide to rent a cabin for the night. Suffice to say, it’s the last time anyone lets Oliver make reservations. Fluffy, cute, and a little steamy. I would love a part 2 of this!

Snow In The City by @littlered-sourwolf - Everyone’s favorite OT3 (Oliver, Tommy and Felicity) are on a trip to NYC when they whole city gets snowed in. It’s, romantic, and definitely steamy enough to get you through a blizzard.

Originally posted by celesexually

With Our Back to the Wall (The Darkness Will Fall) by @theirhappystory - Oliver returned from five years in the military to a lot of changes: his parents barely talk, his sister is all grown up, and his sister’s best friend - Felicity Smoak - is smoakin hot. But a threat against Felicity’s life puts everyone on edge and makes Oliver and Felicity examine their feelings. BTW, there’s a pretty big age difference in this fic. Everything is legal, though. No underaged relations here.

Tell Me a Story by @anthfan - Felicity needs a date to her cousins wedding and Oliver volunteers. It’s before we learned about Felicity’s backstory so the family is different, but I don’t even care. It’s steamy and fluffy and romantic and so cute.

Originally posted by jhopq

Absolution by @ohmyemilybett - Not gonna lie, I wasn’t too sure about this fic. First person in fic usually isn’t my thing. But, @thatmasquedgirl recommended it so I gave it a try. And I LOVE it! It’s a zombie apocalypse AU where ARGUS “saved” everyone but you know how that usually goes.

An Officer and the Computer by @suchaprettypoison - Olicity WWII AU. Yeah, you heard that right. Oliver is a super sexy officer. Felicity does strategic planning things and code stuff. It’s totally sweet, cute and romantic.

What Wouldn’t I Do by @ruwithmeguys​ - I was hesitant to read this at first because it’s about saving Moira and I don’t really care about saving the lives of mass murderers (I also don’t think saving two people - no matter who they are - outweighs domestic terrorism), but then I READ IT. OH MY GOSH. Also, that’s only like the first two chapters. The story is REALLY about stopping Slade and the price Felicity pays for being a total badass.

Workin’ My Way Back to You by ME - Aww yeah, time for the usual shameless self-promotion. I’m writing a hiatus drabble series! I’m really proud of it. I’m choosing NOT to focus on Havenrock because people have said Felicity will be dealing with it mostly in S5 so I’m making this the Summer of Denial.

Ace!Felicity Series by @thatmasquedgirl - IT STARTED WITH A SPEED DATING AU. Now it’s about romance, puppies, and so much more. I’m not entirely sure how to find it most reliably, so I linked to the “fics by masque” tag! If something changes, please let me know. Or I’ll let you guys know.

Originally posted by capturing-kawaii

THAT’S ALL FOLKS! See ya next time :-)

Warning: long post….
but so good.

Close To Home: A Conversation About Beyoncé’s ‘Lemonade' 


A Beyoncé album release is now a communal experience. Who among us (and if you’re here reading this, you’re one of us) made it through this weekend without a conversation, typed or yelled, about her intent, her intonation, her read, her past, her bat, Serena, Tina, Etta, Warsan, Pipilotti, Zendaya? Whether you love her, hate her, or stay strong in your neutrality, our exchanges are kind of the point. This is what art makes us do. No doubt our opinions are in some places monetized and our vocalization of them surely buoys the price of Lemonade on up to $17.99. But what Beyoncé’s got us talking about now is what we women are really always talking about, under our breath, late night on the phone, after the kids are down, over coffee, at the bar, in tears, irrespective of anybody’s album drop: our worth. The video version of this album reflects the private lives of a certain group of women who share a set of memories and experiences; the arc of its narrative will be harrowingly close to home for all of us.

We asked Professor Regina Bradley and writer dream hampton to share their dialogue about the visual album with us, to show the many directions Lemonade is sending people, knowing the two of them don’t come to the art or the artist from the same place, knowing they require different things if they’re to feel represented, knowing that feeling is a major factor in what’s happening right now culturally, but it’s not the only thing. Uniting their perspectives here is our attempt to arm each other with information and knowledge and hard-earned truths. So that when we’re talking about Beyoncé, we’re really saying something. Regina and dream spoke on the phone Sunday afternoon. —Frannie Kelley


Regina Bradley: I was like, wow. So much wow. That was my immediate reaction. And then I went on a Twitter rant. Because I saw a tweet that was like, “Well, this is so much that I don’t understand.” I heard everything from “creepy” to “It’s not for me.” So of course I put on, you know, my southern hat and I was like, “Some of the stuff in that video wasn’t meant for everybody!” It was a love note to southern black girls.

dream hampton: I’m not on Twitter and haven’t been since last August, but I went on there and I saw that the Internet was melting. I was looking for rare Prince video, because a lot of people are sharing amazing performance footage and I just couldn’t get enough this weekend. And I saw that Bey had released this album, which I of course knew she was releasing. I mean, we do have to say that part, like: I know these folks, or whatever.

I saw someone who was a writer for Hannibal, the very dark TV show about cannibalism, and I saw her tweet out that she didn’t think this album was for her, but she still was intrigued. And I thought, I bet when she was creating her scripts and her art she wasn’t telling NBC, “This is going to be a show for cannibals. That’s who’s gonna watch my show.” But in this moment, confronted with this many black girls on camera — and thank you Kahlil Joseph for honoring us in this way, to create this kind of visual altar to black girls, and black girl femmes — you know, in that moment, you can’t locate yourself? I wasn’t looking for myself inHannibal, a story about FBI agents or cannibals, because I have no desire to be either. But I loved what she was doing and I didn’t begin my read on that work with this feeling of rejection. And that was what was in her tweet. She’s a white woman and she felt rejected looking at this video.

Regina Bradley: I think what made folks uncomfortable was the fact that she was pulling from not only a blues tradition, but a southern black woman blues tradition. Shug Avery, Bessie Smith, Rosetta Tharpe and other blueswomen performers used their voices to sonically and lyrically expound upon their personal trauma and strife as a collective call-to-arms for black women. Blueswomen in the south traveled and wandered and did not censor their existence. They made people uncomfortable. I say Beyoncé made people uncomfortable because her performance in Lemonade wasn’t just a curation of the blueswoman aesthetic but an active reckoning with it as it manifested in southern spaces. Pair the blueswoman tradition with the traditional memory of the south as traumatic and backwards and you get a ripe space for unpacking the multiple layers of black women’s healing and existence that Beyoncé tackles in this project.

dream hampton: When I think of the mashup that’s happening here in terms of artists — and there are two collaborators that stand out, obviously, in this project, even though there were many — one of them is Warsan Shire, the poet who I have loved since I found her on Myspace in 2009. She’s a Somali Muslim raised in London and her writing is beautiful and these are her musings on romantic love.

And then you have Kahlil Joseph, who is interested in all kinds of black magic. He did a beautiful short film on Oklahoma rodeos. He did Shabazz Palace’s first video, “Belhaven Meridian,” a nod to the great filmmaker Charles Burnett. He also did a conjuring video for Flying Lotus, which cast Lotus as an Elegba/Eshu in a Cadillac who kind of comes to collect the beautiful Brooklyn dancer Storyboard Pete. Kahlil is absolutely a director who is influenced by Terrence Malick, and he really looks at film as a philosophical medium. And then you add Beyoncé.

Ann Powers wrote a great piece when Beyoncé did the 2013 Super Bowl. She was looking at Beyoncé and Destiny’s Child and that whole syncopated, southern marching band tradition and stepping contests. Beyoncé, even though she’s incredibly popular, probably the most popular artist we’ve had since Michael Jackson, is performing very straightforward R&B and always has, since Destiny’s Child. She has always performed very southern, black music since Destiny’s Child. I thought her first album reminded me of Prince in that it wandered. I’m talking about songs like “Speechless,” like “Naughty Girl,” like “Hip Hop Star,” like “Be with U.” I think that people were kind of happy when she came out with the album after that, B'day, because it returned to the Beyoncé that they were used to, with these big giant hits, from Destiny’s Child. But that first album, besides “Crazy In Love,” was to me deeply influenced by Prince. And then when she did B'day she returned to songs like “Upgrade U” and “Get Me Bodied” and “Ring the Alarm,” “Freakum Dress” — that album felt more like Destiny’s Child, Michael Jackson, I’m coming for you with hits. And Lemonade comes back to the kind of wandering and exploring she was doing on her debut. When you take away all of the videos, you get some very interesting mashups. The James Blake. The White Stripes.

Regina Bradley: I was listening to “Don’t Hurt Yourself,” the song that plays during the section of Lemonade called “Anger,” and I thought about Prince. The live instrumentation, the boisterousness of the music, I thought, this was for Prince. And I think she’s always in a space to do that. But I really enjoyed the fact that she’s making folks uncomfortable with her music right now and the imagery associated with it.

I guess on the one hand I feel like my ear has been tainted when listening to Beyoncé, because for me it’s mostly been what I’ve heard on the radio and it wasn’t until lately that I was like, let me actually dig into it and think about what these influences mean. But one thing that I, as a literary person, was looking at during the actual video album yesterday was so many references to black women writers, singers, and just this quotidian black woman experience that I was so in love with. Finally, you didn’t have to have these supreme cosmic influences just to have a conversation. I felt like it was an everyday conversation that I was having with her through these videos. Ok, well — maybe not the red light, going around town knocking people out with a bat named Hot Sauce. But for me, I saw the influences of Zora Neale Hurston.

dream hampton: I would say in that moment you’re also seeing Kahlil Joseph, who also has a real connection and interest in Zora. That’s what I mean that this is a mashup. And some of it is just musings — Warsan could be happy in a romantic relationship. Now her poems and Beyoncé’s lyrics are being taken literally and used to speculate about Jay and Beyoncé’s relationship. But in the end, these three artists, Warsan Shire, Kahlil Joseph and Beyoncé, are reflecting what they choose to, of their interests, back into their art.

Regina Bradley: The actual visuals probably teach a lot more than the lyrics. And I’m not trying to discount those at all. But we’re in a current visual cultural moment and we learn more through what we see than what we hear.

dream hampton: But let’s not act like lyrics have ever been deep. I mean, that’s what makes Prince an anomaly. Literally. These kind of love musings tend to never be deep. But that’s where Warsan Shire comes in and complicates it. And I say that loving music! As an academic yourself, as someone who writes, myself, we would probably overwrite songs. Because we would be overthinking them. Now Prince, of course, knew how to do thinking but simple love songs. He knew how to make really complicated lyrics make sense in a pop song — when you listen to a song like “Lady Cab Driver” and he says, “This is for the moon … so beautifully complex.” We don’t expect our pop love songs to be sonnets. You’re not going to hear that in an average song. By “average” I mean the very best. I mean The Beatles.

And that’s why it’s lovely that Kahlil brought in Warsan Shire and had her go even deeper on a literary level than a song. That’s what makes this project a masterpiece. Because all of them are playing their parts. Beyoncé is the consummate performer, she is black girl magic personified in this moment. Warsan is bringing that literary genius to it and, because Kahlil is deeply invested in a visual folklore, he’s directing all that into an ancient yet modern visual folklore around black people.

Regina Bradley: I’m still processing it. Even though I’ve watched it three times, there’s so much stuff I’m still missing. One of the things that stood out to me is when they were preparing dinner. The whole idea of soul food as a southern trope, and actually having a seat at the table that black women have been preparing for others, that was big for me.

dream hampton: That was a visual nod to Julie Dash’s Daughters Of The Dust.

Regina Bradley: Daughters Of The Dust and also Alice Walker’s In Search Of Our Mothers’ Gardens.

dream hampton: Yes! And Carrie Mae Weems’s Kitchen too! It’s gorgeous, this idea that we’re going to feed one another into love and healing. That food is healing, that our fellowship is healing. That all women’s spaces are sacred. And all of that comes through. I’ve said this before, but I don’t measure a woman’s strength by her ability to endure suffering. I think true strength is about reaching out when you need help. It is about forgiveness, which Bey has in there. But there’s also a call for accountability. Accountability in our most intimate relationships and accountability as it relates to the images of the mothers of these three victims of police violence.

Regina Bradley: That accountability is real, though. Like Beyoncé’s done so many times in the past, she’s putting her money where her mouth is. She doesn’t speak up in public spaces other than her music. I feel like her work begs the question, “What else do you want me to do?”

But I’m most struck by her use of antebellum imagery to situate her southernness. Southern black girls and women are at the front of Beyoncé’s vision. Not in the back. Not in her peripherals or tucked away under the heavy assumptions of southern black women and girls as hopeless. We are in the front. We are joyful. We are communal. Antebellum blackness as joyous and fruitful seems oxymoronic for black women. Slave women are the most silenced and traumatic representations of southern black women. It is a massive undertaking to sift through the forced silence regarding the physical, social and spiritual violence of slave women to locate the quiet of black women’s endurance. In Lemonade, the trauma of slavery itself does not propel the images of black women in undeniably southern spaces forward. Rather, the antebellum south serves as an entry point for Beyoncé to recognize the historical and cultural horrors of black womanhood while reclaiming the survival techniques passed down over time.

Towards the end of the film, a group of girls runs from a garden with fresh vegetables in their arms. Another shot shows a group of black women in antebellum dresses proceeding into a kitchen to chop vegetables, grind spices and prepare to literally and figuratively break bread. The agency of the antebellum south as the epitome of white southern pride gives way to the quiet dignity of black women as workers, healers and conjurers. The imagery is not new: Black women in head wraps, simple white dresses gathered in communal spaces like a cooking house and a southern plantation manor with black girls running through white columns off of a porch are referenced in multiple slave narratives like Linda Brent’s Incidents in the Life of a Slave Girl.

Yet the work being done is for the women’s own benefit, culminating in a communal dinner underneath a massive oak tree with Spanish moss and performances by Beyoncé of her song “Freedom” and ballerina Michaela dePrince. The gathering women and girls are of multiple ages, smiling and conversing with one another. This scene juxtaposes with an empty candlelit table and a lone black girl — possibly a house slave — sitting at the table. The scene quickly cuts back to the same communal table in the dark under candlelight. The rapidness of the transition between the two scenes is like a blink. It suggests that the women at the table are the dream of the solitary black girl. What I most appreciate about Lemonade is its ability to pull the viewer through multiple lenses, historical periods and vantage points to complicate southern black women. It demonstrates healing as messy, non-linear and generational. Sometimes we deal with the same s*** that our mothers and grandmothers and foremothers experienced. The responsibility of remembering is not only a collective, but it’s a collective for multiple generations of black women.

dream hampton: The other thing that I really loved in the film is this way that she really loved up on her father and on Jay Z as a father. Kahlil reflects that back to us with all these everyday fathers in New Orleans loving on their baby girls.

Regina Bradley: I thought it was gorgeous. I cried a little bit because it made me think of my dad. Especially when he [Beyoncé’s father, in a clip of home video] was like, “What would you do if your grandparents were here?” And she was like, “We would have fun.” He said, “Tell them.” I’m like, yes! The ancestors are everywhere. We have to speak them into existence. We have to remember to keep them alive. He was instilling that in her.

dream hampton: And then the father that Jay is with Blue Ivy is something that she has to love the most about him. I know that, having been his friend for the past 20 years, this is my favorite phase of his life. This phase where he gets to be deeply connected with his daughter. Because for him, and he’s been public about this, this isn’t me snitching on him, at least he was public about this in the book we worked on together, Decoded, he healed his relationship with his father at the very last stage of his father’s life; his father was dying. And that made it possible for him to be in his first real love relationship, which is with his wife. And to see him be able to do more healing around that karmic energy, with his own daughter, is beautiful. Beyoncé must really love that about Jay.

Regina Bradley: And it’s an ongoing process, too. That idea of the vulnerability that’s associated with being a father. For me, one of the things I’ll always remember about my dad is we had a kind of rocky relationship in the beginning. I remember one time we were talking when I was 14 and I was like, “I don’t need you” and he cried. I had never seen a grown man cry before that. My dad was a big dude. He was like 6'5" and 300 pounds. And he was crying. He said, “But I need you though.” With Jay Z being such a public figure and actually letting us see him be vulnerable with his daughter, it wasn’t refreshing, but more like like, “I’m also human too.” It added levels of humanity for him that we don’t often reserve for superstars.

dream hampton: And I think that’s something that we’re guilty of, which is stripping celebrities of their humanity. The way that we talk about them. Grown people who may or may not have given birth, which is a big deal, openly speculating about whether she had her own child. This kind of viciousness. I remember Jay saying early on, when he first started dating her, there are only two headlines to write about a celebrity couple: They’re together and they’re divorced. And that’s all anyone’s interested in.

We really do say the worst things to our lovers. And we really do treat our lovers the very worst and the very best. That’s part of what intimacy is about, being so up in somebody’s stuff that they can’t avoid all the parts of you. But I do love that Beyoncé, unlike blueswomen before her, rejects the idea of sacrificial love as the wife’s duty in a cis-het relationship. In this suite, she demands accountability before we get forgiveness. She’s also being fully present in her rage, and fully understanding of what it is she deserves.

Some classic standards are hard for me to listen to: songs that were recorded by some of my favorite black women, Billie Holiday and Dinah Washington, but weren’t always written by them. Often they were written by white men and they’re sacrificial songs, they are not about being in your power at all times. Beyoncé brings us this power. She’s not the first to bring us this — '70s rock star Betty Davis, Miles Davis’ ex-wife, brought us this, in the “Anti Love Song,” for instance. We’ve seen it before, we’ve absolutely seen it in hip-hop. But it’s so good for Beyoncé to bring that archetype back — “I know what I deserve, I know that god lives in me, I am a divine being and that I deserve all the respect and all the care.” And that’s what the accountability piece is, that you will care for me in the way I deserve to be cared for.

Regina Bradley: And I’m starting to care for myself.

dream hampton: Or that I’ve always cared for myself! We don’t always have to have the hero’s journey, where people have to hit rock bottom and come back up. That’s not our tradition: a single person on a single journey.

Regina Bradley: Multiple journeys.

dream hampton: And not just multi-journey, but your crew, with your woes.

Regina Bradley: You need a squad. Every woman needs a squad.

dream hampton: And in that sense, Kahlil turns away from the hero’s journey and populates this video, even though it’s clearly about Beyoncé, with all of these other black women in different phases of their life. And I think that that’s important.

Regina Bradley: Yes. Because squad love is the best love.


“Have you ever loved somebody used to get the party poppin’, we used to party-hop, we used to be in the Hamptons, party a lot, we was The Breakfast Club, you was a part of the Roc…”

Jay-Z and Aaliyah, photographed at Roc-A-Fella Records’ “Big Pimpin’ Party and Barbecue,” held in East Hampton on July 3, 2000.

Since 1997 Hov and the Roc-A-Fella Records family had been renting mansions (which often came with a $30,000-a-week rent tag) and hosting Summer-long parties for their family and friends. The festivities would culminate in a massive Independence Day soirée, complete with a Roc-themed menu and VIP guest-list. That year they had booked the club Conscience Point to host the “Big Pimpin’ Party,” but two weeks before invites were sent, the party started to get too hot for its own good. “We were getting 20 to 30 calls a day, without invitations,” his publicist Lizzie Grubman remembers. And so the Tuesday before the party, Jay and Dame Dash asked Grubman to change the venue to Jay’s rented mansion. In line with the permit issued by the East Hampton town board, they cut the guest list to only 150 close friends and shut off the music promptly at 11 ‘clock.

During one of her last interviews, with journalist Touré at Jay’s Hamptons mansion just two weeks before her untimely passing in August 2001, Aaliyah said this about her close friend: “He is the sweetest person. I have so much fun when I’m with him. I admire him because he’s an amazing talent, and on top of that he’s a beautiful person. He’s really good people.”

maplerosekisses  asked:

that photoshoot you reblogged with the comments about how that's steve in the au, imagine steve actually having to do a photoshoot like that and Tony tagging along for the hell of it, torn between amused because the whole ordeal is kind of hilarious to watch, and very aroused because DAMN steve looks hot when he's posing and wearing the smoldering look for the camera.

Tony’s known about Steve Rogers for the majority of the 21 years he’s been alive. 

Considering the fact that Steve became a billionaire and the CEO of one of the fastest-growing tech companies at the age of 22, it was kind of hard not to hear about him on the news, see his name in the papers about some huge breakthrough in green technology, or see his face on the tabloids after being spotted with yet another new person on his arm. 

Tony’s 15 when Steve’s first sex tape leaks on the internet, and he only knows this because he remembers noticing a tabloid with the unoriginal headline, “Rogers Sex Tape Scandal!” while trying to buy beer with a fake ID.  The second thing he notices is how gorgeous Steve is, even though the picture is somewhat blurry from being taken so far away.

It’s pretty ridiculous actually, because in the photo, Steve is wearing an open flannel button-down over a ratty band t-shirt, shorts, flip flops, and a backwards hat—and he looks like the guys that make fun of Tony in his classes (the ones who drive their new Audis to school and go drinking at their parents’ beach houses in the Hamptons)—so he reminds Tony of the guys he can’t stand, but he isn’t blind by any means, so he can understand why someone who looks like that would be such a hot topic of conversation in celebrity news.

The second time Tony sees Steve on a cover of a magazine is about a year after that, but this one is staged, and Steve is dressed to the nines in a charcoal gray suit.

Let’s just say Tony’s arm gets quite a work out that night.

So four months into Tony and Steve’s relationship—two months after their public confirmation of their relationship, and a month after their first outing together—Peggy decides it would be good for Steve to do an interview so other people can get a small glimpse of this “softer” side of Steve Rogers.

He knows it’s irrational, but Tony still feels a tiny pang of jealousy when he hears her say that.

He takes pride in knowing that he’s one of a very select group of people who know that side of Steve—really know it.

Peggy schedules an interview with Vanity Fair at Steve’s six-bedroom-eight-bathroom “cabin” in Colorado.  Tony tags along because he hasn’t seen Steve in almost a week and he figures at least being in the same house with Steve is better than not seeing him at all.

The interviewer asks Tony if he’d like to answer questions too, but Tony declines as politely as he can and gets back to doing his own work—he knows he’ll probably have to do these things at some point, but he isn’t ready. Not yet.

Steve talks to the reporter for almost two hours, and when they shake hands, Tony thinks they’re finally done, but then Steve apologetically reminds Tony of the cover photoshoot.

…and Tony’s reminded of that magazine cover he saw at the drug store over five years ago.

Tony’s breath catches when Steve steps out of his bedroom in a form-fitting navy blue suit fifteen minutes later, but the moment is short-lived because the photographer and make-up artists immediately swarm him.

Still, Tony sits back and watches as Steve’s hair and face are touched up before being shoved in front of the camera.

The thing is, the entire thing is absolutely ridiculous. They’re making Steve get into unnatural poses and forcing him to make these absurd facial expressions, and Tony would normally be very amused by the situation, but he’s too busy being super turned on by the image of Steve smoldering at a camera in a suit that costs more than his college tuition.  

The next three hours is excruciating, but the second the last crew member walks out the door, Tony crowds Steve against the wall and kisses him until they can’t breathe.  When they pull apart, Tony realizes he’s left creases in Steve’s jacket from where he had been gripping it too hard, and normally, he’d be apologetic about it, but after seeing the look of pure lust in Steve’s eyes, he finds it very hard to care.

When Steve gets the proofs of the photoshoot a few weeks later, Tony takes his favorite—the one where Steve’s jacket is open and his tie is undone and he’s making bedroom eyes at the camera—and he sets it as his phone background.

Steve sets his background to a candid of a half-naked Tony in retaliation.  


Oh hey guys! I’ve received a few emails over the last year asking where I’ve been. And that’s been hard to answer, because sometimes I don’t even know where I am. Where did I leave off? I suppose it was sounded something like: I just broke up with boyfriend, quit my job, and was trying to focus on being happy. A year later, I can tell you, 2014 has been a whirlwind of adventure, probably best told in pictures.  So where have I been? I started out the year working on Cry Wolfe for Discovery ID and quickly jumped onto Catfish: Untold Stories, which was just as crazy as you might imagine. 

Right after Catfish, I went on to produce The Great Food Truck Race, which took me across America. I started with the Military Moms truck in California…

We went to the Wild Wild West in Tucson, Arizona…

Finished the week at Pima Air Space where I was totally in awe of JFK’s Air Force One…

We took a bus ride to Austin, Texas… 

I was again with the Military Moms and Lone Star Chuck Wagon, parked on South Congress for the weekend. In our free time, we had a blast on 6th Street and Rainey. Austin was amazing, but HOT. Holy humidity.

After Austin, we went to Oklahoma City and met some cowboys and hung out by the lake…

And finished the shoot at the capitol:

My producing gig on Food Truck was over in Oklahoma, but i hitched a ride on the crew bus to St. Louis because, why not? So we of course, had the most epic St. Louis day possible. The Loop, Budweiser Brewery, the Arch, and a Cardinals game–had to be done. 

By Memorial Day weekend, I flew to the Hamptons for one of my best friend’s Tupac-themed Bachelorette party. We started with wine and cheese and appropriate behavior at a vineyard.

And like any good weekend in the Hamptons, it ended with a hungover train ride back to the city:I then hopped on another train to Newport, Rhode Island for an amazing weekend with some friends, but unfortunately, my phone took a swim, and I’m missing most of the pictures from that weekend, except for this one:

Also included in the lost photos was a trip to Boston to see my friend, Becca. Total bummer. By early summer, I was back home, celebrating to 4th of July in Manhattan Beach:

But before I knew it, I was back on a plane to Cabo San Lucas for the summer. I booked a job on Preachers’ Daughters which airs in January. I spent 7 weeks in Cabo on night crew, which meant most days I got to watch the sunrise:

To say Cabo was magical and life changing is an understatement. I fell completely in love. The days looked like this…

And the nights looked like this… (If you happened to have gone to Squid Roe, Mandala, Pink Kitty, or Knotty this summer and saw a television crew, I pray you weren’t one of the drunk assholes who jumped in front our cameras….aside from being on permanent Spring Break, I had the best time ever.) 

With the best two night crews making it the best summer ever..

It took me awhile to get used to producing barefoot and body-guarded, but I would do it again, in a heartbeat.

Just pure magic.

From Cabo, I flew back to New York for back to back weddings of two of my best friends’. It was an NYU reunion, and it’s good to know, we all still got it. 

After some pizza and meatballs in Brooklyn..

…I hopped in a cab, in my dress, at 4am, and got on a plane to Sonoma. I never went to bed, but by 4pm the next day, I was drinking a watermelon beer in Northern California. 

It was a weekend of wine, train rides, and general debauchery with Troop Sonoma’s finest..

In late September, it was time to celebrate Christmas. I took a job, producing The Great Christmas Light Fight for ABC, which took me to Louisiana…

Mobile, Alabama…

Somewhere in the middle of Georgia…

And Jacksonville, Ft. Lauderdale, and Tampa, Florida…

I actually spent my 30th birthday in Jacksonville, which all things considering was a great day filled with beach, wine, champagne, oysters, and new friends on the road. Couldn’t have asked for more if I had to be on the job!

It was odd celebrating Christmas for 3 months, and most of the time I was tucked away out of the shot, hanging with some penguins in 85 degree Florida heat. 

I made it back from that gig just in time for the American Music Awards with my old ABC crew, where somehow we had better seats than Taylor Swift? 

And I accidentally look a selfie with Kate Beckinsale’s boob…

A few weekends later, my friend, JMad and I hopped in the car and drove to Vegas for her 30th birthday when our friends from New York missed their flight out. Shit got weird, as things normally do in Vegas. ;)

I started work on a new show, which is crazier and darker and scarier than anything I’ve ever done, and I damn well froze my ass off on our first shoot in Georgia. 

Thankfully, I made it back in time for a sweet Christmas with friends and family, which we now refer to as Squidmas. 


And now here I am, reflecting back on this last year of adventure. It was amazing and filled with incredible laughter. It was also terrifying and lonely sometimes. Planes, trains, automobiles, nice hotels, shitty hotels, not remembering where you are or where you came from, not knowing what you’re signing up for when you say “sure?” to 7 weeks in Mexico with a crew you don’t know….there were moments of overwhelming anxiety and overwhelming excitement. My life doesn’t look like what I thought it would at 30, but dare I say, it’s better in so many ways? The people I have met along the way and the lifelong friendships I made make everything worth it.  If you’re wondering, yes, there were boys. But none of them are worth mentioning here. Maybe one day one of them will get a post, but for now, 2014 was about me, and of course the most important guy in my whole life:

I don’t know how much I’ll be back around these parts, but I wanted to check in. For those who followed me for years, I still think about this place. I hope you are all well. Spread the high fives and good vibes and enjoy some mai tais alibis. xo


Ficlet prompt from anon: After Castle being on a long book tour, Kate is particularly clingy and he enjoys it to the fullest.

Four weeks apart had been hard. They hadn’t been apart more than a few hours at a time since they’d gotten married nine months ago. But since Kate had picked Castle up at the airport they’d been practically attached at the hip. And he’s more than a little happy about it.

After a kiss that was borderline inappropriate for public they’d collected his luggage and made their way to the waiting town-car hand-in-hand. The drive home had been spent pressed together in the middle of the seat, sharing soft kisses and whispered declarations of love and how much they’d missed each other.

The moment their front door had closed behind them Castle had dropped his bags just in time to catch his wife as Kate jumped up and wrapped her legs around him. He’d carried her to their bedroom as she worked on his shirt buttons and covered his face with frantic, sloppy kisses.

Kate had taken the week off so they could have a little time to make up for the month away from each other. Alexis and Martha had gone up to the Hamptons to relax and give the couple the space they needed and wanted. And they took advantage of every second.

They’d lazed in bed, cuddled on the couch, took hot baths, lounged under the stars in one of chairs on the roof. Every meal was cooked together or ordered in, because neither of them wanted to put on the amount of clothes required to leave the building. Nearly every moment was spent together doing something or nothing at all. They didn’t care what they were doing. The company was all that mattered.

Now as Castle lies awake watching Kate sleep he can’t help but smile. She’s snoring faintly but he’ll never tell her, even though he finds it adorable. Tomorrow their life goes back to normal. In the morning they will return to the 12th and its murder investigations. He’s going to miss this, he’d be lying if he said otherwise. The extra clingy side of his wife is not something he gets to see often. Even so, it will be nice to get back to their routine. Alexis and Martha will be back in time for dinner tomorrow, and he can’t wait to see them.

That’s all tomorrow though. He’s still got all night to enjoy the feel of Kate’s arms wrapped tightly around his torso, the weight of her head on his chest. The bliss of having her cuddled up to him, the warmth her body provides, the gentle sound of her soft breathing, the perfection of the last week, it all catches up to him and he joins his wife in peaceful slumber.

oh my god was that last episode even real??? did i really just witness embarrassed connor, the introduction of oliver to the keating 5, happy elated oliver, drunken handsy oliver, sweet & cute connor, a hot as fuck coliver kiss and olivER FUCKING SAYING LOVE YOU TO CONNOR IN HIS DRUNKEN ADORABLE STATE???????????? ALL IN ONE EPISODE???????