totally mainstream


gif battle vs @nanssagajii ❤︎
↳ round 11 -
mystic x iara, mãe d’água.

the ‘mother of the waters’ is the beautiful mermaid that lives in the amazon river.

george lucas: *made star wars*

george lucas: *set up education foundation*

george lucas: *gave the 4 billion money from the star wars sale to charity*

george lucas: *donated $100,000 to try and fight the ban on same-sex marriage*

goerge lucas: *advocated for free internet in schools*

george lucas: *joined his wife mellody hobson in donating 10 million to bring more racial diversity into usc*

george lucas: *financed low-cost housing development in california*

george lucas: *made the prequel star wars*

star wars fanboys: he is the worst person to have ever existed. the worst person in the movie industry. he ruined my life i hope he dies

The Year The Mainstream Discovered Tame Impala

by Ryan Leas

Last year, Kevin Parker released Currents, his third album under the Tame Impala moniker. It was the moment where he moved beyond the dense psych-rock of Innerspeaker and Lonerism and embraced a shimmering, humid mix of dance and pop and rock. In our cover story about the making of the album, he described its lead single/mission statement, “Let It Happen,” as initiating “this kind of grand transition of someone.” That was an apt description in general for the version of Tame Impala that would develop after Currents came out. Aside from the stylistic departures, Currents also laid the groundwork for Parker capitalizing on the Lonerism festival jams “Elephant” and “Feels Like We Only Go Backwards” to attain a different level of clout than any of us would’ve reasonably expected earlier on in Tame Impala’s existence.

This year, the music world had such an overflow of excellent, invigorating work, major surprise releases, and tragic, surprising deaths that the significant releases of 2015 can already feel like ancient history. That wasn’t the case with Currents. Tame Impala was on the festival circuit playing these songs all year, now sitting at that second- or third-tier headliner status. Some of these songs had become part of the atmosphere — by the time I heard “Let It Happen” repeatedly blaring from the outdoor speaker of an Italian restaurant in Reykjavik this November, I was already used to encountering that, or “The Less I Know The Better,” or “New Person, Same Old Mistakes” in all manner of public spaces. They’d garnered some degree of ubiquity, even if Tame Impala still isn’t a household pop name. The buzz behindCurrents proved legitimate: There wasn’t a new Tame Impala album this year, and yet Parker and his music seemed ever-present. It was a year where the man who once could’ve remained an insular space-rocker from the distant edge of Australia fully entered the mainstream.

There was that Snapchat commercial featuring “The Less I Know The Better,” following on the heels of a 2015 Apple Watch commercial that had also used the song. That in of itself isn’t new for Tame Impala — “Elephant” found prominence partially due to its appearance in a spot for the Blackberry Z10. And this century is littered with examples of indie artists licensing a song to an Apple or car commercial; sometimes it’s one step in an upwards career trajectory, sometimes it’s just a random blip in an artist’s life. For Parker, it’s surprisingly proved to be the former, signaling the wider proliferation of Tame Impala.

It’s expected for Wayne Coyne to love Tame Impala. Less so for, say, John Mayer to Instagram the cover of Currents and write, “Best record of the past two or three years. Proven many times over in my mind.” (He then compared it to “Radiohead 1996″ and, amusingly, “Coldplay 2003,” before concluding with “Phoenix 2008.”) Mayer wasn’t the only pop star enamored with Tame Impala. Rihanna recorded a very, very faithful cover of Currents closer “New Person, Same Old Mistakes” for Anti — the biggest stylistic departure was renaming it “Same Ol’ Mistakes” — and just as it served as a crucial conclusion to the emotional journey of Currents, it too became an important linchpin in Rihanna’s most personal album. (Meanwhile, Tame Impala’s original also appeared in a teaser for Atlanta, one of the best and most popular new TV shows of the year.)

Elsewhere, you had the Brit-rock doofiness of Last Shadow Puppets’ special Tame Impala song at the 2016 iteration of Poland’s Open’er Festival. Alex Turner — a rock artist with the stature of a pop star compared to many of his contemporaries working in the idiom — sang aseemingly improvised paean to the upcoming headliners, offering up gems like “There’s a storm brewing/ In the form of Tame Impala” before proclaiming, “Kevin Parker controls the weather system.” (Not an unfair statement about much of Tame Impala’s music, if we’re being honest.)

Shout-outs and licensing are one thing, but the bigger deal, and the bigger left-turn, is how Parker has started to have a direct interaction with the pop world. Rihanna covering a band that sounds like the evolution of a ’70s stoner-rock dream is a start, an opening salvo. Then you have Yasiin Bey (FKA Mos Def) previewing a Tame Impala collaboration for one of his final pre-retirement albums. Then you have an honest-to-God collaboration between Parker and Lady Gaga on “Perfect Illusion,” the lead single from her new album Joanne. The video features Parker in the maelstrom dance sequences, drumming as Gaga pulls back his head by the hair.

There was some precedent for this, but it seemed like an outlier at the time. On Mark Ronson’s 2015 album Uptown Special — the one with “Uptown Funk!,” which also seems like ancient history after 2016 — the British producer enlisted Parker for three tracks. Two of them, “Summer Breaking” and “Leaving Los Feliz,” were plays on late ’70s lite-funk and yacht-rock that fit into the album’s overall hybridized retro aesthetic. The best of them was “Daffodils,” a psych-funk track possessing an irresistible, unhurried swagger. Like “Let It Happen,” this is another piece of Parker’s 2015 output that still lingers. At least in my experience, it’s one of those songs you just seem to hear in random places, without any given logic — that subtle ubiquity a song can have without having been a major hit like, say, “Uptown Funk!” Released earlier in 2015, Uptown Special offered a prelude to the disco-fied Tame Impala we were about to meet on Currents. It’s also what eventually lead to “Perfect Illusion”; Ronson’s the guy who got Parker involved with Gaga.

Parker’s new endeavors are part of a general movement we’ve seen in recent times, with indie-rockers alighting from their niche to try their hand at a bigger canvas. There were little grey areas, like Ariel Rechtshaid straddling the pop and alternative worlds with his 2013 trilogy of albums by HAIM, Sky Ferreira, and Vampire Weekend. Fast-forward a bit, and that’s blossomed into Rostam departing Vampire Weekend to pursue pop music full-time, and Ezra Koenig, James Blake, Jack White, the Yeah Yeah Yeahs, Father John Misty, and Animal Collective all, somehow, being tied to Lemonade. The latter might’ve been a bit of an extreme reaction — more “Let’s avoid another ‘Blurred Lines’ lawsuit” than “Look at all the inspiration we took from the indie world” — but it still marks a moment where indie artists’ names are mingling with the biggest stars on the planet. Like Parker, after all, Josh Tillman is actually contributing songwriting to these albums – he helped with “Hold Up” on Lemonade, and “Sinner’s Prayer” and “Come To Mama” on Joanne, right there alongside “Perfect Illusion.”

What’s notable about this is that, once upon a time, rock stars and singer-songwriters could’ve been major pop forces on their own. Once upon a time, they would’ve been the more critically respected artists, and their choosing to work with a pop artist could’ve legitimated the latter. Now, it’s something like the other way around. An artist like Tame Impala, for as unlikely a rise as they’ve had on their own, are still not going to totally crack the mainstream on their own. But here’s another path: Make your spaced-out synth-drenched coke-rock comedown album, then work with some pop stars, and a career of some notoriety comes into focus.

It’s specifically notable with Parker, because Tame Impala seemed destined to be the band always playing the late-night tents at Bonnaroo. They might’ve been beloved, they might’ve had a cult following. They might’ve been very successful for their sphere, and they might’ve kept churning out woozy ear-candy like Lonerism. And that would’ve been great! But there’s something potentially more interesting on the horizon for Parker now. In a recent interview, he talked of Tame Impala taking a bit of a hiatus. “What comes next is very much a blank canvas,” he said, “but a blank canvas in a good way — I’ve got all the paint!” He’s also spoken about further collaborations he wouldn’t name. Even after Uptown Special and Currents, this is a surprise: the idea of a Tame Impala recognized by pop stars, and Parker as an in-demand co-writer. Who knows whether that’s the path Parker will follow, or what might come of it. But given the creative bounty he’s already reaped from the unexpected detours in his career, the idea of a future version of Parker known for guesting on rap songs or taking a pop single further out into the unknown is just as exciting as hearing him let loose a mind-warping solo as the sun sets over a festival crowd.

The totally mainstream “Mutts” cartoonist Patrick McDonnell once did a tribute to my Amy and Jordan book on his Sunday newspaper Mutts comic.  LOL,  I can’t imagine that very many people got the joke!.

[TRANS] ‘Nylon’ June 2016 - "Confess to Me” (Woohyun)

It’s your first solo album. How long have you been preparing this for?
It took quite a while. I think the preparation took one and a half to two years.

The title of your album is ‘Write.’ What does it mean?
It means ‘to write’, right? I chose it because the album actually contains the songs that I’ve composed, and the meaning of write is like showing my heart and I wanted to convey that.

If you were to tell us one thing that you can brag about?
For the first time, I directed. Because it’s my album, the desire to do it myself was huge. The big benefit of being a solo artist is that you can show your own color. The one who knows that color well is myself. I wanted a lot of my opinions/thoughts to reflect in it, so I directed.

How was it, directing it yourself?
It was very difficult and rough. I thought maybe I was only doing what I like. I thought I was losing objectivity a bit, so I asked people around me for help. I heard different opinions while letting them listen to my songs, though in the end, I was the one who picked them.

I suppose you’re comfortable with letting other people listen to the songs that you’ve composed?
Yes, I let all my friends listen to them. My friends are very honest. If it’s not that good, then they will say that it’s not good right then and there. But for this album, their reactions were good. Out of all the songs, we narrowed the title track down to two songs, and ‘Nod Nod (Still I Remember)’ was chosen.

That’s an interesting title. What is the song about?
It’s a song about a breakup. Anyone who experiences a breakup feels loneliness and emptiness, right? The song is about calmly accepting those emotions by oneself.

Any necessary and sufficient condition for it?
You can’t judge it just by listening to it once. When you’ve listened to it for around 10 times, it will sound better. So, when you’ve heard it for the tenth time? And if it’s after you were hurt by someone you loved, you’ll be able to say calmly to yourself, ‘Right, this is how it is’ and accept (the situation).

Since it’s your first solo album, you must be very attached to it. How much desire and passion have you put into this?
There was a time when I stayed up for four nights because I thought something better might come to my mind, but it would disappear once I slept. I put a lot of effort into this to produce songs that are better. My desire was so big that I wanted to put in more songs and make it into a full album. I had around 14 songs, but because this is my first album, I only chose six songs to not overdo it.

Today is a week before your showcase. What are you most occupied with?
Taking care of my throat, of course. Listeners might become disappointed if things don’t flow the way they want it to flow. I’ve been taking vitamins, red ginseng, Korean traditional medicine, etc., things that I don’t normally take.

You try out a lot of new things, like musicals, dramas, movies, and a solo album. Are you the type who’s not afraid to try out new things?
I like trying out things. When I’m acting, I would look at the script and think ‘How do I act this out?’, but when I’m able to act out those scenes on site, it’s amazing and fun. I like the rewarding feeling that comes from overcoming myself through challenges.

Upon hearing that your solo album is coming out, fans have great expectations for your voice. What kind of voice do you think do you have?
It contains loneliness and melancholy that’s a little hard to explain in words. If my voice was solid and husky in INFINITE, I think it’s a lot lighter by itself.

Do you want to have different images for when you’re a solo artist and when you’re an INFINITE member?
Yes, the two are different people. I produce a more solid-sounding voice as INFINITE’s main vocal. But as a solo artist, I produce a more relaxed-sounding voice, the one that’s closer to my actual voice. The genre of the music is completely different as well.

It’s already been six years since your debut. You must have gotten used to a lot of things, but you must also have things that are still confusing and difficult.
Singing is still hard. I’m always worried about parts with high notes. In my team, I’m in charge of high notes so I think about how I could make it less damaging for my throat. Thankfully, my throat hasn’t gone hoarse throughout these six years. But because of overseas tours, my health condition has become unmanageable, so it’s been hard for me to take care of my throat. Six years, and I’m still like this. Haha.

Is music still fun?
Yes, of course.

What about it makes Woohyun-ssi most happy?
The reactions I get when I let other people listen to the songs that I wrote. One person has this reaction, but that person has that reaction. It’s interesting how everyone has different tastes.

Do you watch them when they’re listening to your song?
Of course. I watch all their facial expressions. (Laugh) After listening to it, if they tell me ‘This part will be good if you do it like this’, I say okay but try to do it my way. But I’m easily swayed by others, so I keep getting concerned about others’ opinions.

Who is the person around you with most reliable ears?
Sungyeol totally has the mainstream ears. 100 percent! If he says that he thinks a certain song will do well, it will do well. He’s especially good at picking title tracks.

So did Sungyeol-ssi like the title track?
Yes. But he also has another song that he likes.

Do you think you’re on the road to success as a musician?
It’s just the beginning. On a scale from 1 of 10, I’m now at a 1. As INFINITE, it’s a 1, too. That’s what I think still.

Then what dreams do you have that will get you to 10?
It’s good to have dreams but I actually haven’t set goals yet. Rather than thinking ‘I want to reach this far’, I tend to be realistic. I’ve only thought as far as ‘In my present, what is enough?’ I try to do things that I can do now, things that don’t make me feel uneasy; because even now, I feel uneasy.

Still? Even though you have so many fans who support you?
Yes, even now. I think I’m a bit timid.

That’s unexpected. I thought you were a confident person.
I’m pretending to be confident. I have a little confidence, but make it seem like I have a lot of confidence. I don’t have much confidence.

After listening to the song that you’ve let us listen to, I think you can have that confidence now.
Yes, I’m planning on having some now.

Translated by: togetherinspirit7
P/C: La Esperanca


Woke up to find this headline everywhere…

1. My heart goes out to all the victims: Those who were murdered, those who are alive but injured–mentally or physically, those who are waking up and scrambling to find the status their loved ones, and all of the other LGBTQ folks around the country who fear for their lives and safety.

2. Using an anti-gay violence to promote an agenda of Islamophobia is unacceptable.

3. Calling this a “possible terror attack” solely in reference to the killer’s ethnic/religious background is unacceptable.

4. Calling this a “possible terror attack” in reference to the fact that all of the victims were at a known GAY nightclub, effectively making it a targeted hate crime, is valid, but totally left out of mainstream reports.

  • Why is it that, during a time of relative growth in the salience of LGBTQ justice issues, this factor is not at the forefront?
  • If the killer wasn’t a Muslim, would we still call it terrorism?
  • If the killer was an old white NRA guy upset about same-sex marriage, would we even think of calling it terrorism?
  • Why is anti-gay violence only acknowledged at the opportunity of increasing anti-Muslim sentiments?

K but next year can NBC do something like Sondheim??? And not something that literally every high school in the country has performed because like imagine a live high budget production of Sunday in the Park or what if thEY DID NEXT TO NORMAL OR PIPPIN CAN U IMAGINE SOMETHING NOT TOTALLY MAINSTREAM DESERVING THE RECOGNITION IT DESERVES ON LIVE TV WHAT IF THEY DID IN THE HEIGHTS

Polls are nice, but canon is better.

We gave it our best, swung for the fences and missed.  Everyone that stood up late, rallied the troops and kept it positive throughout the process, kudos to you.  I know there may have been some salt thrown back and forth in the heat of battle, but that poll was never about a them vs. us.  We all love Richonne so much, and waited so long, we just wanted their chance in the limelight.  A no drama, teen angsty, mature, groundbreaking relationship being featured in mainstream media would have been great.  It was always about that and nothing else.  But their romance will only get stronger, and they won’t need poll wins to be featured.  They’ll be featured because they can no longer be denied.  Their story together and separately will demand to be featured on it’s own merits.  We just were trying to give our babies a leg up, because they are already starting behind the eight ball.  No insta built in teen audience, or even a totally accepting mainstream audience. That’s ok, we’ll still get there with the pure undeniable chemistry and performances by two caring, dedicated ship captains.  They won’t let us down. I applaud everyone’s efforts, and even understand the passion that may have led to some not so stellar moments. Us Richonne shippers, ship hard, and protect this ship with all we have.  We just don’t know any other way to be.  In the end we still have the best canon scene, and post-canon scene  in recent TV history.  They can’t take that away from us.  And I expect stellar metas, gifsets, fanfiction and vids to get us through this god awful hiatus.  So let it be written, so let it be done. Richonne Rocks!

Who the signs would be in Jurassic World *warning: spoilers
  • <p> <b>Aries:</b> Vic Hoskins (he didn't think this through did he)<p/><b>Taurus:</b> the Mosasaurus (basically ate the Indominus because it disturbed its nap)<p/><b>Gemini:</b> the velociraptors (yes, all of them)<p/><b>Cancer:</b> Gray Mitchell (v emotional and v adorable)<p/><b>Leo:</b> the pterosaurs (especially the ones that end up screeching at the Indominus like "FIGHT ME" then get totally crushed)<p/><b>Virgo:</b> Claire Dearing (everything in her life is organized except for everything that happened in this movie haha)<p/><b>Libra:</b> the T rex that fights the Indominus (because they have to be in an equal match, and the T rex ended the movie by roaring and being fab)<p/><b>Scorpio:</b> Owen Grady (CHRIS PRATT)<p/><b>Sagittarius:</b> Simon Masrani (can't tell if he's the good guy or the bad guy, but he wanted lots of teeth so there)<p/><b>Capricorn:</b> the Indominus (behind that scaly exterior is a mind that would kill a couple thousand people and dinos in cold blood)<p/><b>Aquarius:</b> Zach Mitchell (really doesn't think any of this through just to not be totally mainstream)<p/><b>Pisces:</b> the Jeep that Zach and Gray got away in (still important)<p/></p>

We interrupt this Scooby-Doo derp to bring you a special news bulletin:


ScoobyDooMistakes is only 300 away from our first 10,000 followers! So, if you want to brag about how you liked SDM “before it was cool,” you’d better follow post-haste… y’know, before Scooby-Doo derps and animation errors become totally mainstream. “They’re just a bunch of posers now, maaaaan!

At 10K, I’ll also be doing a thank-you video for y’all, where I’ll talk about the history of SDM, my tips for growing a blog, and… I dunno, maybe show you my cat? 

It’ll be fun. See you then!

– Colin

  • Interviewer: What's the moment that you thought you'd made it?
  • Andy: I think we always felt like outsiders and not totally embraced by mainstream music. Like any events we go to or award shows we always feel weird. But I think there's a series of moments that have felt awesome and amazing and big, and never a moment where it's like "yes, we've made it"

thelivelyintrovert  asked:

I saw your last ask and I was wondering should i be scared he's going to go totally mainstream and lose himself and his sound is just gonna be popish you know? I feel like i want him to evolve musically but I don't wanna lose em to the radio you know ?

Is Abel going to become totally mainstream? Yes. 
Should you be scared? No. 
For a quick minute, I wasn’t feeling Abel’s new sound, at all. I was mad, why you do me like this Abel, you don’t gotta change, y’know, I wanted to fight him, but then I went to his twitter. I came across a couple of tweets that made me feel better, listened to Rolling Stone, read his letter a few times. I then referred back to this tweet, 

Trilogy is the shit, it was the beginning of a new era, Kiss Land didn’t do all that well so he feels like he has to try something else. If he’s not growing, then he’s dying as an artist. He’s migrating to the pop genre this album and we already lost him to the radio. I believe he has it planned it out, he has a vision and a goal that he’s trying to accomplish. Like he said, he’s definitely trying to craft a genre of his own and I have no doubt that he will succeed. Who knows, he might take up rapping next album/ Even tho he’s changing his style and sound, he has a strong hold of who he is. 
~sorry for the late answer love~

Why #StormPilot Matters

Of all the major fandoms in the world right now entertaining thoughts of a gay relationship between major characters (e.g. Sherlock and Watson, Captain America and Bucky Barnes, etc.), none is so passionate nor as popular as the #StormPilot movement, advocating a relationship between Poe Dameron and Finn in the newest Star Wars trilogy. I have, from the beginning, been a proponent of such a relationship, because it is phenomenal, logical, and so hot. But I am finally ready to elaborate on exactly I find it personally important, and as an extension why I think it is important to the larger world.

I am a 27 year old gay man. And, for various reasons which aren’t worth going into here, I didn’t come out to my family (the most important step) until just a few months ago, after (although I must admit not because of) seeing The Force Awakens. Still, the pro-gay backlash I witnessed in response to this very idea has heartened me to no end, and it is for this reason that I feel like I must speak out in favor of it now.

One of the common refrains I have seen amongst those who are resistant to the possibility of a gay romance in Star Wars, under the guise of being reasonable and not-at-all-homophobic, is some variant of: “Don’t sexualize Star Wars – it is a movie for children and it has never been about sex.” And that is, on the surface, reasonably true. This is what makes the claim seem so innocuous and valid. But my question remains: is anyone actually asking to sexualize the franchise more than it has already been sexualized in previous iterations? At most, proponents of a Finn/Poe (or whatever other gay pairing) relationship are looking for verbal confirmation that these two characters love each other, and maybe share one or two chaste kisses (which is even something I could begrudgingly live without, were the first part present). How is that any different from Leia and Han in the original trilogy? How is it not even less overtly sexual than the Anakin/Padme relationship in the prequels, which resulted in a pregnancy even though Anakin was supposed to be sworn to celibacy as a Jedi knight? Did those twins come about from immaculate conception? And how can one even claim, with a straight face, that the original movies were never sexual, when Carrie Fisher was paraded around in a metal bikini, which subsequent pop culture (e.g. That 70s Show, How I Met Your Mother) has explicitly recognized as the fantasy masturbation material for many a young, nerdy, heterosexual man in the late 20th century? No one is lobbying for Oscar Isaac to march around in a thong in Episode VIII (although I would certainly be the last to complain if he did).

So accepting that introducing a gay relationship is not, in fact, about sexualizing anything to a greater degree, this gets toward a much larger point. Heterosexual relationships, whether the sexual aspect is particularly explicit or not, are totally normalized in mainstream, blockbuster films. And that is fine. A very large part of the human population is heterosexual, and of course that would be and will continue to be the norm. But that does not mean that movies, which have such a large influence on general culture and indeed pride themselves on pushing the boundaries of and even making culture, can continue to ignore non-heterosexual relationships to the exclusion of all others. Our media has a responsibility to reflect the actual population. And this is not even a new concept. In an American context, the majority of the population is also white (at least for now) – yet most enlightened circles have converged on the reality that racial minority representation in movies is extremely important. Why would sexual minorities be any different? Back up half a century, and the same majority values and religious arguments were being used against minority (especially interracial relationship) representation in popular culture, but such qualms have now been left in the past by anyone worth listening to. And today, when there is any indication that they have not (such as the #OscarsSoWhite controversy last year) it is to everyone’s general misfortune.

That’s not to say that gay representation doesn’t exist in film – it obviously does. But when looking at my own movie collection, I notice that I have exactly five films, of the 100+ that I love enough to have purchased in the this modern day of streaming, with explicitly gay themes. And I have explicitly sought those gay-focused films out. The average young person, struggling with his or her sexuality, may be quite likely to find Star Wars within the family collection of films. It is much less likely, growing up in a straight family, that he or she would find “The History Boys” or “Pride.”

Thinking back to when I was a young man, struggling with my sexuality but still nowhere near ready to actually seek out “gay” media, I cannot imagine how encouraging it would have been to have seen positive reinforcement, or even simple and tacit acceptance, in one of the biggest movie franchises in the world. Obviously, it wouldn’t have fixed everything. But it would have been a major boost to my confidence and a big step forward in my path toward self-acceptance. Here, in a universe and a story that most people love right alongside me, is a hero who is also gay, but whose sexuality has nothing to do with what he or she could do nor the value that he or she can contribute to the world. When the real world is throwing signal after signal at you that you are less important and less worthy than your straight counterparts, such a role-model – even of the fictional variety – is invaluable, because his or her existence provides hope that things could be different and better. And after all, what is the world of fantasy and sci-fi if not a representation of our hopes and dreams (and sometimes warnings) about alternatives to the flawed world in which we actually live?

I can’t help but compare this tame and easy solution to what we already have in the biggest franchises of the day. While most are relatively benign in their tacit expectation and depiction of heterosexuality, I can’t help but think of Deadpool. As the first major R-rated super-hero movie of our age, I was excited to see it since the source material promised a vulgar and pansexual hero of the 21st century. If ever there was an avenue toward at least partial gay acceptance in a broadly-popular blockbuster film, this would be it. And while I generally did enjoy the film for most of the reasons promised, the sexuality issue left me desperately wanting. Although Deadpool was quick with a homoerotic remark, it was almost exclusively as a joke. Any homo-specific remark, such as “suck my dick,” offered to another male, was still leveled as the basest of insults. There was even one explicit visual scene in which the very idea of having something inserted up his ass was the ultimate indignity that our hero could simply not abide. Even though he was meant to be open to all sexual experiences, he could only ever be seen to tolerate strictly heteronormative sexual activity. Again, no one is asking for an explicit scene depicting StormPilot penetration – that would indeed be quite outside the realm of the Star Wars universe and purpose. But a simple indication that these characters do love each other, with whatever that means left well off camera, would go miles toward progressing the norm of acceptance in popular culture.  And that in turn, would be enormously beneficial to many.

Fortunately for me, I never reached a level of despair over my sexuality so deep that I considered self-harm in any form. But the statistics show that I am one of the lucky ones, and this only serves to emphasize the point. The rate of self-harm and suicide for LGBT youths is dramatically higher than the rate for their straight counterparts. I, as a 27 year old gay man who by some miracle ended up relatively well-adjusted and was ultimately fully embraced by my family, sexuality be damned, am still pleading for positive representation in popular culture. So just imagine what more this positive representation could mean for a much younger gay person, who is subject to an even greater amount of self-ridicule over his or her inborn sexuality and has not yet found a level of self-acceptance nor a network of external acceptance to make these negative feelings bearable.  

I’m not a fool. I know that one major franchise will not a solution make to gay representation in the media as a whole. But I also know that a more comprehensive solution must start somewhere, and I don’t see any franchise better poised to make that essential first step than Star Wars is right now. Perhaps there will be a marginal amount of dollars at stake among those who are still resistant to the forward march of equality. But frankly, the franchise can afford to lose those dollars. On the other hand, and in a much larger and more consequential sense, there are human lives at stake if we, the forward-thinking and enlightened members of society, who know that this is right and necessary, continue to ignore the plight of the marginalized and refuse to recognize and depict their humanity. I don’t personally live or die by #StormPilot becoming canon. But in the larger world, now and in the years to come, there may well be some who do. I, for one, am much more concerned with their well-being than that of the bigots who will be temporarily pissed at seeing a dude kissing a dude.

“I think we always felt like outsiders and not totally embraced by mainstream music. Like any events we go to or award shows we always feel weird. But I think there’s a series of moments that have felt awesome and amazing and big, and never a moment where it’s like ‘yes, we’ve made it'”

Against the late-eighties backdrop of MTV, moral hysteria, and the culture wars, the rise of N.W.A. represented total negation—of the mainstream music industry, of the status quo, of waiting your turn and holding your tongue. Well before anyone with an iPhone could document police brutality, the frustrations of young black people went viral by way of abrasively funky anthems like ‘Fuck the Police,’ 'Gangsta Gangsta,’ and 'Straight Outta Compton.’
this is a PSA if you’re freaking out a little inside over the whole “your buddy, your Bucky” thing

In both WWI and WWII, the buddy system was literally codified. Men in combat either picked or were assigned “buddies,” the equivalent of… oh, maybe a cop’s partner. Crossbones is probably aware of this. He’s probably going for a psychological edge by calling up these old associations. It’s in keeping with the taunting tone I gather was used.

A song from WWI picked up a TON of popularity roundabout WWII, called “My Buddy.” It was totally mainstream. Frank Sinatra sang a cover in 1939. It is a frank depiction of male affection in the context of combat and war, where soldiers developed incredibly intense bonds which were not necessarily sexual, but were very emotional. Seeing death together can do that.

It was ALSO hugely popular with gay soldiers, who saw reflections of their own decidedly romantic and sexual feelings in it.



anonymous asked:

My friend noticed that reylo is the most popular ship according to google. It garners way more search results than all the other ships associated with the entire star wars saga. I can only imagine it exploding if and when reylo actually becomes canon.

Hmm, interesting! There definitely is widespread fascination with the pairing of Rey and Kylo, which doesn’t surprise me since that dynamic makes itself felt so strongly in The Force Awakens. And yes, you’re right - if it becomes canon, Reylo would totally go mainstream.

I love Jessica Williams as much as anybody else, and have absolutely zero doubt she’s gonna do awesome things, but come on, she’s been on the daily show like two years total, her mainstream career has literally just started and people are arguing that she should receive maybe the most prestigious position on cable tv? this is where internet feminists miss the mark, yes she’s a very talented woman, and even if she’s talented and experienced enough for the job (which she almost certainly isn’t at this point in her career), she doesn’t deserve it, at least not more than so many other people in the business, much less the many people who already work for the show who’ve been making us laugh for years before we even knew who a jessica williams was. “There are too many white males on late night” is not a problem. It’s a symptom of a problem. And that problem is not fixed by forcefully shoving under-qualified people into positions to create some artificial diversity. You fix the problem by consciously rooting out injustice, by changing the rules to be fair and equal to not advantage one group over the other. The Daily Show has in fact helped to fix the problem by hiring many talented nonwhite people, but still people who were right for the job.

(If you want a woman in the host seat so bad, advocate for Samantha Bee, she’s just as funny and actually has paid her dues)