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lesbianfeminists · 5 years ago

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“March was women's History Month, and in the wake of the graduation-dress debate, Marlborough confronted self-image with a special all-school assembly featuring Dr. Joan Jacobs Brumberg, a professor at Cornell University. Dr. Brumberg had written two books about the collision between cultural pressures and a girl's sense of herself, Fasting Girls: The History of Anorexia Nervosa, and The Body Project: An Intimate History of American Girls. The title of her speech was 'From Corsets to Body Piercing.'

…

She started out with a rattling set of statistics: By the age of seventeen, according to her research, 78 percent of American girls reported that they disliked their bodies. Girls as young as eight and nine complained to their pediatricians that they were fat and needed to go on a diet.

Teenage girls had become 'appearance junkies, valuing their appearance over creativity, intelligence, generosity, kindness,' said Dr. Brumberg. 'And there's anecdotal evidence, though its not yet established in the literature, that it's worse in southern California than anywhere else in the country.’

There was in this country an epidemic of what she called 'bad body fever,' and she believed that they only way to eradicate it was to confront it. To bolster her argument, she read excerpts about New Year's resolutions from two different girls' diaries. The first spoke purely in terms of personality traits she wanted to improve, while the second girl wrote about how she wanted to look and what she hoped to buy. 'One diary projects good works,' said Dr. Brumberg. 'The other projects good looks.' The first diary, one of the ones she had collected for The Body Project, was from 1892; the second, the one that focused on appearance, was from 1982. The implication was that today's young women had replaced moral concerns with a narcissistic set of desires. 'So what's happened?' Dr. Brumberg asked her audience. 'Can we blame it all on Calvin Klein, on advertising? Can we blame Hollywood? MTV? Are you the first generation to feel this way? What was it like in the past to get your period, to develop acne, to start to feel sexual?'

She presented a slide show of 20th-century photographs and advertisements, designed to illustrate how the media defined femininity. She wanted the girls to see just how aggressive the message was, how pervasive the cult of physical beauty. If they understood the pressure they were under, they would be better able to defend themselves against it.

…

Katie Tower and her friend Lisl came because they were furious. To them, all this talk of 'bad body fever' was a colossal insult, no better than a racial or religious slur. What right did a stranger have to suggest every girl in the auditorium was neurotic about her appearance?

For the first ten minutes, the lunchtime session was a polite round of agreeable sentiment: Several girls wanted to talk about advertisements they hated, and one devoutly embraced the idea of 'being more aware of ourselves." Dr. Brumberg referred to herself as 'unlean,' and the girls chuckled. Dr. Morgan and Les Klein hovered in the background with a parent who had offered to serve as Dr. Brumberg's chaperone for the day.

Finally, Lisl could stand it no longer. She had strict criteria for true gender equality, and she saw insidious threats where most of her friends did not. She believed in hygiene-- her long, straight strawberry blond hair was always shiny and clean-- but beyond that, she took an almost belligerent stance about her appearance. She rarely bothered to tuck in her uniform shirt, and she preferred dark slacks to the more popular short skirt over boys' boxer shorts. She often wore a school blazer, as though happy for the extra camouflage, and favored heavy, lug-soled shoes.

To her, all this talk about looks was somebody else's problem. It had nothing to do with her life. She was going to Brown University and intended to become an engineer. Gender and looks were irrelevant to that. In fact, she found Dr. Brumberg's presentation to be condescending-- a double standard masquerading as a commitment to equality.

'Using the terms like bad body fever and stuff, I think you're really emphasizing negative aspects,' Lisl said. 'Putting all this emphasis on how the female appears, and what the teenage girl appears to be. My question to you would be, Do you think you're adding to it? When you speak so fervently about how we have to stop this, or look at the impact-- don't you think you're simply adding to it?'

Dr. Brumberg was startled by Lisl's question. She picked her words carefully. 'I'm a historian,' she said, 'and I'm reporting on what the clinical establishment is saying. Do you follow what I'm saying? I didn't do the research. The data show-- and it may not be your problem, all right?-- that women in America are dissatisfied with themselves, and that they're more demanding about physical appearance than any other aspect of their lives: their creativity, their athleticism, their sociability, their relationships.'

Her voice tightened up. 'I didn't make that up, okay? I'm trying to explain why we might have come to that position. I'm not chastising you."

Lisl refused to yield. 'Doesn't dissatisfaction create change, though? So wouldn't that be beneficial change? Maybe we're in sort of a time of change.'

Dr. Brumberg cut Lisl off. How could anyone consider a negative self-image to be a tool of progress? 'Dissatisfaction about your body,' she said, incredulous. 'You think that is going to generate social change?'

'About whatever,' said Lisl. 'Any dissatisfaction moves people to change things.' She accused Dr. Brumberg of acting as though beauty were a bad thing, and attention to hygiene and athletics, evidence of a superficial nature. Perhaps girls were simply being practical about how the world worked. She brandished a magazine ad that touted yogurt. 'Look at this,' Lisl said. 'It says, 'You need yogurt or else you're not going to get a date.' In some ways isn't that true?' The girls Lisl knew who had boyfriends were slimmer and prettier than the other girls. Maybe the ads were merely a reflection of reality, not an attempt to define it.

Dr. Brumberg and the teachers hardly expected such antagonism, and Lisl was not finished. What really infuriated her was the implicit suggestion that Marlborough girls were no different that anyone else.

'We heard you say that external appearance came in lieu of good deeds and actions and stuff,' she said. 'I don't think you can say that vanity has totally disappeared from Marlborough's campus, but we're heavily motived people here. Its hard for us to look at somebody who's omitting that part of our life and saying--'

Dr. Brumberg cut her off. 'You're taking the thesis of my book as somewhat of an insult,' she said.

'I'm not,' said Lisl. 'I'm just explaining to you, since you seem rather surprised-’

'You regard it as a charge that women of your generation are shallow.'

'Its personal,' said Katie. 'Maybe I feel better in makeup or certain clothes.'

'What's wrong with enjoying it?' chimed in another girl.

'There's nothing wrong with enjoying it,' replied Dr. Brumberg.

'That's the way you're coming off,' said Lisl.

Dr. Brumberg appealed to Dr. Morgan, who had arranged for her visit. 'In fairness to me,' she said, ' have these people read my book?'

Dr. Morgan sighed. One assigned chapter.

Dr. Brumberg decided to make her case one last time. 'The book is about the way in which in the twentieth century, not just young women but everybody, regards the body as perfectible,' she said. 'That's a change in our intellectual psyche. If you deny that the body is a critical piece of your self-identity, I think you're being pretty defensive. Your parents watch their cholesterol. Your grandparents may be counting their fat grams. This is the kind of culture in which we live. My charge is not that you're shallow and you don't have other interests. What I'm telling you is that if you looked at these diaries the way I have, from the 1830s to the 1980s, you'll find there is a big difference in the way girls think about themselves.'

Her stern tone of voice was a warning. As the session drew to a close, she would not tolerate interruption.

'This is not an argument against makeup, against earrings, against getting dressed up and taking care of yourself,' she said. 'But you are a little blind and a little defensive if you can't admit that there are people in this culture who become appearance junkies. I'm not saying you are all like that. I'm not saying you can't do wonderful things….I'm just telling you that girls beat themselves up today about appearance in ways they didn't in the nineteenth century. That's the thesis. If that is threatening and upsetting to you, I'm quite surprised.'

…

Her audience was plainly skeptical. For six years, they had lived in a world that considered them capable. The last thing they needed to hear, as they waited out the final weeks before the college letters arrived, was that they carried an internalized flaw, like a damaged gene, that rendered them not quite good enough: lacking in depth, concerned with frivolous things.

Their nerves were too raw to appreciate Dr. Brumberg's study. All they heard was a middle-aged woman telling them that they were narcissists. She was the universal bad mother, wagging a disapproving finger in their faces, and they simply did not want to hear what she had to say.

Erica's friend Chrissy, a gracious, soft-spoken girl, tried to lower the temperature in the room with a confession. People were always telling her she was not thin enough, or needed more makeup, or ought to color her hair, 'and they say its not for yourself-- its so a boy will like you.'

One of the other girls cut her off. There was no way to rid the world of people who said stupid things, but a smart girl refused to listen-- and she surrounded herself with like-minded people. A Marlborough girl did not need instruction. She just needed other girls who understood.

'You need a friend to say, 'No, no, you're plenty thin,' said one senior. 'Girls need to say that.'”

All Girls: Single-Sex Education and Why It Matters, Karen Stabiner. 2002.

#femininity #2002 #single sex education

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wheredidhiseyebrowsgo · 6 years ago

Note

Sterek fics with fratboy!derek? I love that trope

AND

Anonymous said:Sterek fics with fratboy!stiles, or ones where he wears a hat backwards?

Oh me too! And frat!derek and frat!stiles tags. - Anastasia

Game Plan by marguerite_26

(1/1 I 1,422 I Explicit)

"The rules," Danny says, waving a wad of cash in one hand, a tape measure in the other. "First years -- Scott, Stiles, Jackson -- vs upper years -- Isaac, Boyd, Derek. Cumulative length."

Derek rolls his eyes. Boyd's going to owe him for this. "Hard?"

"Hard as you can make it, big boy," Stiles says, then he fucking winks.

Battle of the Bros by damnfancyscotch

(1/1 I 2,044 I Teen)

The Alpha Tau house and the Beta Sigma house have been rivals since before Stiles was born.

-----

Or, a Frat AU with a prank war and cute boys.

the beat goes (on and on) by dansunedisco

(1/1 I 2,096 I Explicit)

Stiles takes a sip of his beer and scans the crowd. It’s wild tonight, but that’s nothing new for Alpha Delt. Jackson’s on DJ duty, which explains the shitty dubstep blasting through the speakers. Writhing, drunk bodies are packed in every corner, and the scent of weed hangs heavy in the stale air. He takes a sniff and sighs, disappointed. He was offered to take a hit off one of the many blunts making the rounds tonight, but he declined. All because Derek likes him to be (mostly) sober when they fuck, doesn’t like to mess around with consent on either end.

Not that Derek’s shown any interest in him tonight. Whatever.

Dinomite by drunktuesdays

(1/1 I 2,278 I Explicit)

(303): apparently while i was high i thought that putting a dinosaur temporary tattoo on my inner thigh would keep me from taking my pants off and having sex with him…

(303): …it didn’t…

Your First by Simone (fvckyourfandoms)

(1/1 I 7,278 I Explicit)

It's Stiles freshman year of college and he decides to rush a fraternity. He becomes Vice President Derek Hale's favorite pledge and they end up much closer than expected.

A story in which Derek can't keep his hands off of Stiles' sweet, irresistible, virgin ass and fails at not feeling him up.

Alpha Beta Omega by isthatbloodonhisshirt (wasterella)

(1/1 I 8,527 I Teen)

“So, we’re graduating this year. Crazy. It’s been a great four years.”

“Some moments definitely better than others,” Stiles muttered under his breath. “Like the times you actually left me alone.”

“And I get that. I do. Mea culpa. But I was thinking—”

“No.”

“I haven’t even said anything yet,” Derek insisted.

“Still no.”

Bid on Me by xKookiesandCreamx

(1/1 I 9,471 I Explicit)

"Don't celebrate yet. I'm only bidding on him if no one else does. Which will never happen because everyone wants him." Derek said, smirk turning triumphant at Erica's exasperated expression.

"Oh come on Der-" Erica started to whine, but quickly cut herself off when the auctioneer (Derek was pretty sure he was the frat's president) called out "And one of our last auctions of the day, Stiles Stilinski!"

Derek's heart dropped to his stomach in anticipation, waiting for the moment where some hot busty blonde or some Calvin Klein model guy bid on Stiles and won.

Except. It never happened.

"Shit Der, are you magic or something? Does everything you predict turn out to be wrong? Quick, say 'Erica will not suddenly be handed a million dollars' out loud for me". Derek rolled his eyes and waved Erica off, watching as the auctioneer listed off qualities of Stiles, dropping the starting bid from $50 to $30 to $25, all the way down to $5.

Derek was drowning in secondhand embarrassment. And judging by Stiles's badly concealed hurt expression and pink cheeks, he was suffering from a whole lot of first hand embarrassment.

Oblivious Misadventures, and Other Such Tales by Little Spoon (JaydenNara)

(6/6 I 11,240 I Mature)

Going to college was exciting and new, a chance for new friends and a fresh start, and the best part was, there was a supernatural fraternity on campus, meaning Scott finally had the freedom to be himself.

Then he met the resident human who came with a stalker alpha. What was the point of a supernatural fraternity if he still had to pretend to be human. And seriously, did Stiles ever fall asleep somewhere normal?

(aka - Five TImes Scott Found Derek and Stiles Sleeping, and the One Time He Didn't)

Initiation Rites by asilentstreet

(1/1 I 13,942 I Explicit)

The new Alpha Delta Chi pledge class is a bunch of worthless idiots.

Derek gets suckered into staring in frat-porn not once, but twice.

Intervention: Stop Stiles and Derek from actually ruining our lives by LittleDropsOfImagination

(5/? I 16,929 I Mature)

Stiles and Derek have been at each others throats since the moment they met, but one prank too many lands them in trouble. The frat is sick and tired of getting caught in the crossfire of their petty prank war and decide an intervention is in order.The order is clear. Get on as roommates or get out of Alpha Kappa. No more second chances, no compromise.No chance.

Not Your Typical College Romance... by EvanesDust

(7/7 I 17,929 I Explicit)

“Do you wanna go inside? I can give you a tour of the house. I know you said you weren’t looking to join a frat but sometimes that’s a selling feature.” Stiles’ face falls slightly at the idea that Derek is just trying to recruit him, but he mentally slaps himself for thinking that. As shitty as it would be, he could just say no and walk away. Either they’d be friends after that, or they wouldn’t.

There is a Brotherhood by minusoneday

(3/3 I 21,004 I Explicit)

So far, college has taught Stiles three things:

1) Eight am classes are cruel and unusual and should be avoided at all costs, even if it means having to enroll in something truly hideous instead, like Econ 101.

2) Dorm security is just as tight as Stiles’ orientation leader had promised it would be, and the dude guarding Scott’s dorm in particular does not respond well to bribes.

3) Mrs. McCall clearly had no clue what she was talking about when she’d insisted that Scott and Stiles needed to branch out and room with strangers, so it’s all her fault that Scott ended up with a total dick of a roommate and Stiles got stuck all the way across campus with some guy who has a girlfriend two towns over and is thus never around.

Or, the one where pledge brothers Stiles and Scott start a prank war with Derek Hale's fraternity.

No Homo by orphan_account

(12/12 I 84,092 I Explicit)

Stiles' sophomore year starts something like this:3 FourLokos+ 1 peer-pressuring cat- 1 best bro to end all best bros= 1 Craigslist ad headline that reads "str8 dude - m4m - strictly platonic".Derek is the fool who replies.

#teen wolf #sterek #stiles stilinski #derek hale #fratboy!stiles #fratboy!derek #college au #anon #Anonymous

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gokinjeespot · 5 years ago

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off the rack #1292

Monday, December 16, 2019

I sure got a heavy cardio workout yesterday scraping off the ice from both vehicles after the rain on Saturday froze under a layer of snow overnight into Sunday morning. That kind of temperature change will give you whiplash. The frozen blowing snow covered half of our birdfeeders too so I had to clear those off for our feathered friends. It's despairing when the temperature drops during the day instead of getting warmer. Stupid Arctic Air Mass.

The Red Mother #1 - Jeremy Haun (writer) Danny Luckert (art) Ed Dukeshire (letters). The first page with the disintegrating skull will give you an idea of what this beautifully drawn new story is about. Daisy and her boyfriend Luke are walking home from dinner when they are attacked in a scary black space behind an iron gate. Luke is hauled into the blackness and Daisy has her right eye plucked out but survives. By the end of this issue she's seeing scary things through a haze of red. I loved the art in this and look forward to meeting Mother.

Harley Quinn & Poison Ivy #4 - Jody Houser (writer) Adriana Melo (pencils) Mark Morales & Wade von Grawbadger (inks) Hi-Fi (colours) Gabriela Downie (letters). The Floronic Man attacks the girls again. This time in a roadside dinosaur theme park run by a crazy old lady. Poison Ivy figures out how the bad guy is tracking them and Harley fixes that problem with a machete. This is one crazy story.

Punisher Soviet #2 - Garth Ennis (writer) Jacen Burrows (pencils) Guillermo Ortego (inks) Nolan Woodard (colours) Rob Steen (letters). Frank has reluctantly taken on a teammate in his fight with a Russian mobster. This issue starts that guy's origin story.

Something is Killing the Children #4 - James Tynion IV (writer) Werther Dell'Edera (art) Miquel Muerto (colours) AndWorld Design (letters). Erica goes shopping for monster killing tools and into the woods we go. Time to meet the monster.

X-Force #3 - Benjamin Percy (writer) Joshua Cassara (art) Guru-eFX (colours) VC's Joe Caramagna (letters). The enemy is revealed and they are Xeno. Kind of reminds me of the Court of Owls from Batman. Wolverine and Kid Omega rescue Domino from their clutches while a new Charles Xavier is hatched with a rebuilt Cerebro to lead the war. I liked how Magneto made a sword for Charles from the broken Cerebro helmet.

The Dollhouse Family #2 - M. R. Carey (writer) Peter Gross (layouts) Vince Locke (finishes) Cris Peter (colours) Todd Klein (letters). Maybe I'm wrong but I suspect that the M. in the writer credit stands for Mike. I loved Mike Carey's Vertigo books and this has a very familiar feel. I like how the house is a character too.

The Immortal Hulk #28 - Al Ewing (writer) Tom Reilly & Matias Bergara (art) Chris O'Halloran (colours) VC's Cory Petit (letters). The villain gets the spotlight this issue as Roxxon C.E.O. Dario Agger tries to find a way to fight the Hulk. He goes to find an ally on Monster Isle and I laughed when I saw who it was.

Valkyrie #6 - Al Ewing & Jason Aaron (writers) Pere Perez (art) Jesus Aburtov (colours) VC's Joe Sabino (letters). What a great read. This is an example of how two good writers can produce a highly enjoyable issue of a comic book. Add to that very nice art and you've got a "pick of the week". Part one of "Strange Aeons" starts a new story where Val needs to put together a team to save Death. Doctor Strange is her first recruit and Night Nurse, Cardiac, Doctor Faiza Hussain AKA Excalibur and Manikin make the journey to the valley of the shadow of death. Talk about D-list, but I trust that Al and Jason will make good use of these heroes.

Detective Comics #1017 - Tom Taylor (writer) Fernando Blanco (art) John Kalisz (colours) Travis Lanham (letters). This is a great one issue story if you want to see why this comic book is on my "must read" list. Batman solves two crimes and I was happy to see Damian helping out. If Tom Taylor did a Robin book, I'd read that too.

Fantastic Four #17 - Dan Slott (writer) Luciano Vecchio, Carlos Magno, Bob Quinn & Sean Izaakse (art) Erick Arciniega (colours) VC's Travis Lanham (letters). I was wondering why this story was called "Point of Origin" and this issue explain why. We all know that the Fantastic Four were bombarded with cosmic rays when they took their maiden flight and that's what gave them their super powers. Little did we know it wasn't an accident. It's a subtle change and doesn't make a lot of difference in the grand scheme of things but it is kind of neat.

Miles Morales: Spider-Man #13 - Saladin Ahmed (writer) Javier Garron (art pages 1-2, 16-20) Kevin Libranda (art pages 3-8) & Alitha Martinez (art pages 9-13) David Curiel & Protobunker (colours) VC's Cory Petit (letters). I usually get annoyed when an issue is drawn by a bunch of different artists but Javier, Kevin and Alitha all did a splendid job and the story flowed seamlessly. The awesome colouring job helped too. Say hello to Billie Mariana Morales. Miles is now a big brother.

Superman #18 - Brian Michael Bendis (writer) Ivan Reis (pencils) Joe Prado (inks) Alex Sinclair (colours) Dave Sharpe (letters). As big a Brian Bendis fan that I am, I stopped reading this title because I wasn't interested in what was happening in the book. Now I'm interested again. Superman drops a bomb that's going to explode into all kinds of repercussions. I liked how Wonder Woman, Batman and Lex Luthor reacted to the news even though they don't utter a word. That's great art right there. The cover will give you a hint to what Superman's announcement is.

Fallen Angels #3 - Bryan Hill (writer) Szymon Kudranski (art) Frank D'Armata (colours) VC's Joe Sabino (letters). Cable, Psylocke and X-23's mission to save some children continues and one of the heroes is captured by the enemy. I hope their next story happens in the daytime because these issues have been very dark.

Dark Knight Returns: The Golden Child#1 - Frank Miller (writer) Rafael Grampa (art) Jordie Bellaire (colours) John Workman & Deron Bennett (letters). No returning Dark Knight since this story features Lara, Jonathan and Carrie, the kids of the Big Two. They battle old man Joker and old man Darkseid. I loved the art. The writing was annoyingly repetitive. That seems to be Franks writing style now using lots of verbs and choppy little captions. I don't like it. The thing about comic books is that the art and writing go hand in hand and I just couldn't stop reading the words part way and just look at the pretty pictures. Seeing Greta Thunberg on the last page just made me love Rafael even more.

Friendly Neighborhood Spider-Man #14 - Tom Taylor (writer) Marguerite Sauvage (art flashback) Ken Lashley (art) Marguerite Sauvage & Rachelle Rosenberg (colours) VC's Travis Lanham (letters). Crappydoodles! This is the last issue. I am sad. I enjoyed the entire 14-issue run. It was Juann Cabal's art that got me hooked but Tom's writing kept me reading. His stories were very Mister Rogers and I liked them a lot. He showed Peter committed to his sense of responsibility and ended this issue nicely. I'm going to miss this title.

The Batman's Grave #3 - Warren Ellis (writer) Bryan Hitch (pencils) Kevin Nowlan (inks) Alex Sinclair (colours) Richard Starkings (letters). Batman is working on a case of murder disguised as a suicide. I like how this issue starts and ends with him working the case with Alfred in the Batcave that bookends 10 pages of wordless solo crime scene investigation and a fight with an intruder for a crucial clue.

2099: Doom #1 - Chip Zdarsky (writer) Marco Castiello (art) Chris Sotomayor (colours) VC's Clayton Cowles (letters). This one-shot doesn't add much to the overall story but I like Chip's writing so I read it. Victor winds up in 2099 fighting his future self. The last page doesn't make a lot of sense so skipping this comic won't hurt much.

2099: Spider-Man #1 - Nick Spencer (writer) Ze Carlos (art) Brian Reber & Andrew Crossley (colours) VC's Cory Petit (letters). I was as confused as the Miguel in this story when I got to the end. We get a sense of what's happening in 2099 that's bad for everyone but there's no connection to the main story as far as I can make out. These 2099 one-shots have been a waste of time, which doesn't bode well for Marvel's next big event. I'll read 2099 Omega to see if there's a point to this story and I'll read The Amazing Spider-Man #36 that ties into this event because that book is on my "must read" list, but Nick Spencer is skating on thin ice with me.

Annihilation - Scourge: Beta Ray Bill #1 - Michael Moreci (writer) Alberto Alburquerque (art) Jay David Ramos (colours) VC's Joe Sabino (letters). This was a good single issue story. Beta Ray Bill goes up against the Sentry and saves our universe from the scourge of the Cancerverse. I liked that he's teamed up with Lockjaw.

Annihilation - Scourge: Silver Surfer #1 - Dan Abnett (writer) Paul Davidson (art) Matt Milla (colours) VC's Clayton Cowles (letters). I was asked recently if the Silver Surfer was good or evil after the Silver Surfer Black story and I didn't know the answer until now. This tie-in one-shot takes place right after Silver Surfer Black as Norrin Radd breaches the barrier between the positive universe and the Negative Zone to investigate what's causing the mass exodus from Annihilus's realm. Here he finds the means of defeating the Void controlled Sentry and thereby save two universes. He also discovers the ability to merge with another being sort of like DC's Deadman.

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natturnersrevenge1831 · 3 years ago

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Reposted from @balleralert Calvin Klein is facing backlash for featuring a pregnant trans man in their latest campaign. On Sunday, the clothing company launched its latest campaign in honor of Mother’s Day. The campaign featured a series of photos that featured a transgender couple. CK captioned the Instagram slide, “Today, in support of women and mothers all over the world, we’re spotlighting the realities of new families.” The pregnant trans man, Robert Bete, posed alongside his transgender girlfriend Erica Feeha, wearing the brand’s signature underwear. Robert didn’t shy away from letting his baby bump be visible in the pictures. He also says, “We can reproduce biologically or from the heart..our role in the world is to love and be loved.” ________ Me: So a "man" with a pussy and a "woman" with a dick, both playing dress up. Fuck outta here with this bullshit. Ima start calling this shit THE DEEP FAKE. Seriously. This shit will be pushed so long as we keep going along with the bullshit. You can be you but I be dam if I see a pregnant woman and call them a man cause they said so. Fuck you mean 😂🤣😂 https://www.instagram.com/p/CdgXElxMGzN/?igshid=NGJjMDIxMWI=

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redcarpetview · 6 years ago

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THE “2018 AMERICAN MUSIC AWARDS®” TO HONOR ARETHA FRANKLIN WITH SPECIAL TRIBUTE

Rickey Minor on board as Musical Director

The Live Broadcast Will Air Tuesday, October 9th at 8:00 p.m. ET on ABC

Los Angeles (October 4, 2018) – dick clark productions and ABC today announced an all-star lineup of soul and gospel legends who will come together to pay homage to the Queen of Soul, Aretha Franklin, at the “2018 American Music Awards.” Gladys Knight, Ledisi, Mary Mary, Donnie McClurkin and CeCe Winans, friends of the late, luminary singer/songwriter, will take the AMAs stage for a moving tribute honoring Franklin’s gospel roots and iconic gospel album, Amazing Grace. Consulting Producer for the tribute is the Emmy Award® winning music director, composer and producer, Rickey Minor. Hosted by Tracee Ellis Ross, the “2018 American Music Awards,” the world’s largest fan-voted awards show, will broadcast live from the Microsoft Theater in Los Angeles on Tuesday, October 9, 2018 at 8:00 p.m. ET on ABC.

“We would like to express our sincere gratitude to the American Music Awards, dick clark productions and American Music Awards’ producer, Larry Klein, for honoring Aretha Franklin with a musical tribute for this year’s broadcast,” said Sabrina Owens, Franklin’s niece and executor of the Aretha Franklin Estate. “Throughout its 46-year history, the American Music Awards has continued to stand by the music and honor the best in talent and the greatest in popular music culture. When I heard some of the initial ideas for the tribute, I knew without a doubt that this tribute will go down as one of the best in American music.” Owens adds, “We still remember when Aretha won her first American Music Award in 1976 for Favorite Female Artist – Soul/R&B, and throughout the years, she went on to win five more awards and we will never forget when she hosted the show; as well as her memorable performances. Dick Clark helped to revolutionize American music, and along the way, Aretha Franklin was part of that revolution.”

“It’s a blessing to be a part of this moving musical tribute to honor our late queen and sister, Aretha,” said Gladys Knight. “She was an icon and visionary, radiated light and love through all of her life’s work, and touched all of us through her incredible gift of music.”

“Aretha was the voice of a generation,” said music director, composer and producer, Rickey Minor. “She transcended racial barriers by reaching into the depths of her soul and taking us on a journey with every note she sang. Her spirit will live forever in her music.”

Aretha Franklin, The Queen of Soul. Photo courtesy of the AMAs.

One of the most iconic voices in music history, Franklin accumulated six American Music Awards in her lifetime, including Favorite Female Artist – Soul/R&B (1976, 1977, 1984 and 1986), Favorite Female Video Artist – Soul/R&B (1986) and Favorite Album – Soul/R&B (1983). She served as host of, and performed on, the AMAs in 1976 and 1983, and last performed on the AMAs stage in 1986. Franklin left a resounding mark on the music world and beyond, also garnering an induction into the Rock and Roll and Rhythm and Blues Halls of Fame, a Kennedy Center Honor, a Presidential Medal of Freedom and by utilizing her voice for social issues including civil and women’s rights.

The great ones endure, and Gladys Knight has long been one of the greatest. Very few singers over the last fifty years have matched her unassailable artistry. This seven-time Grammy winner has enjoyed #1 hits in Pop, Gospel, R&B and Adult Contemporary, and has triumphed in film, television and live performance. Fall of 2015 marked the release of Knight’s first mainstream dance record, “Just A Little” in nearly twenty years. The song serves as lead single from her twelfth studio album that she is currently working on. Knight, who is a two-time Grammy winner in the gospel category, yet again embraced her gospel roots, releasing her inspirational album “Where My Heart Belongs,” in September 2014. The album was a major success and won an NAACP Image Award for “Outstanding Gospel Album.” All told, Knight has recorded more than 38 albums over the years, including four solo albums during the past decade: “Good Woman” (1991); “Just for You” (1994); the inspirational “Many Different Roads” (1999); and “At Last” (2001). “At Last” showed the world that she still has what it takes to record a hit album, employing the talents of contemporary producers like Randy Jackson, Gary Brown and James D.C. Williams III, Jon John, Jamey Jaz, Keith Thomas, Tom Dowd and Tiger Roberts. Her involvement in other creative undertakings, business ventures and humanitarian activities has been extensive, and has brought her honors from industry and community alike.

Ledisi is a 12x Grammy-nominated vocal powerhouse who has wowed fans ever since she came onto the scene. She’s earned a place in the pantheon of the best soul singers of her generation. Ledisi is a favorite of The Obamas and has performed eight times at the White House. Her fans include icons, legends and current chart-toppers like the late- Prince, Patti LaBelle, Smokey Robinson, Stevie Wonder and more. She has headlined two national sold-out tours, performed alongside Richie Sambora, Dave Matthews, Kelly Clarkson, Jill Scott, Maxwell and many more. She’s appeared on nationally recognized shows like Good Morning America, HARRY, The David Letterman Show, The Late Night with Jimmy Fallon, and VH-1’s Diva’s Live to name a few. In 2015 she appeared in the Oscar-nominated movie Selma as Mahalia Jackson and is currently starring in Gabourey Sidibe’s Shatterbox Anthology film, The Tale Of Four. Ledisi released her ninth Grammy nominated studio album Let Love Rule, which features John Legend, Kirk Franklin, and B.J. The Chicago Kid among others. The album received three GRAMMY nominations in the “Best R&B Album,” “Best R&B Performance” (High), and “Best Traditional R&B Performance” (All The Way) categories.

Ledisi. Media Image.

Mary Mary is the multi-Grammy® and multi-award winning Gospel recording, sister duo of Erica and Tina Campbell. The sisters broke through in 2000 as Mary Mary with the pioneering hit “Shackles (Praise You).” Mary Mary has earned numerous Stellar & Dove Awards, four Grammy® Awards, three NAACP Image Awards, two American Music Awards, a Soul Train Award, a BET Award, the BMI Trailblazers of Gospel Music Award, ASCAP Golden Note Award and more. After seven Mary Mary albums and a lifetime–18 plus years of professionally singing–the commercially successful and critically acclaimed Mary Mary has sold more than 5 million albums, toured internationally, graced the covers of multiple high-profile magazines and both have recently launched successful, award-winning solo careers. Erica Campbell’s solo debut album, Help, won a 2015 Grammy® Award for Best Gospel Album. Erica is the host of the nationally syndicated radio show, “Get Up! Mornings with Erica Campbell.” In 2015, Tina Campbell independently released her solo debut album, It’s Personal, winning the 2016 NAACP Image Award for Outstanding Gospel Album. Her single, “Too Hard Not To,” from her follow-up album, It’s Still Personal, received a 2018 Grammy® nomination for “Best Gospel Performance/Song. Erica and Tina continue to perform as Mary Mary while embracing their solo careers. They are loving wives and mothers who are devoted to their faith and their families.

The three-time Grammy winner, Donnie McClurkin, debuted as a solo artist in 1996 with his self-titled album Donnie McClurkin, featuring mega-hits Stand and Speak To My Heart. Before launching his solo career, he started the New York Restoration Choir and recorded his first album, I See A World that contained the original version “Speak To My Heart.” The gospel anthems, We Fall Down and Great Is Your Mercy, both from the top-selling Live In London And More album was released in 2000. The acclaimed gospel singer won his first Grammy in 2004 for Again for Best Soul Traditional Gospel Album. McClurkin’s double CD, Psalms, Hymns & Spiritual Songs earned a Grammy in 2006 as Best Traditional Gospel Album. In 2010, he accepted his third Grammy (Best Gospel Performance) for Wait on the Lord, featuring Karen Clark Sheard from his We Are One: Live in Detroit album. His other top honors include over 12 Stellar Awards; two BET Awards, three NAACP Image Awards, two Soul Train Awards and three Dove Awards. He appeared as a judge on BET’s Sunday Best for six seasons 2010-2015. McClurkin is currently in the recording studio, look for new music in 2019.

CeCe Winans. Photo by Naomi Richard.

CeCe Winans has released a slew of duo and solo albums that crossed genres and boundaries and influenced a generation of gospel and secular vocalists. Her mantel today holds a staggering 12 GRAMMY Awards, 23 Dove Awards, and seven Stellar Awards. She’s been inducted into the Gospel Music Hall of Fame, Hollywood Walk of Fame and Nashville Music City Walk of Fame, in addition to being named a Trailblazer of Soul by BMI and garnering multiple NAACP Image Awards, Soul Train Awards, Essence Awards, and more. She’s sold in excess of five million albums in the U.S. alone, topping the Gospel charts repeatedly while managing to cross over with smashes like “Count On Me,” her stunning duet with Whitney Houston from the multi-platinum ‘Waiting To Exhale’ soundtrack, which sold two million copies and cracked the Top 10 on the Billboard Hot 100, Hot R&B/Hip-Hop Songs, and Adult Contemporary charts. She touched millions more with inspirational performances everywhere from Oprah to The White House, and even showed off her acting chops on television series like ‘7th Heaven’ and ‘Doc.’ In 2016, Winans became a member of the Artist Committee for the prestigious Kennedy Center Honors. Winans’ upcoming project, Something’s Happening! A Christmas Album is scheduled for release on October 19th.

Rickey Minor is a composer and Emmy Award winning Music Director who’s worked with such renowned recording artists as: Whitney Houston, Adele, Rihanna, Demi Lovato, Keith Urban, Diana Ross, Katy Perry, Aretha Franklin, Jennifer Lopez, Little Big Town, Stevie Wonder, Arianna Grande, Carrie Underwood, Sting, John Legend, Common, Elton John, Andra Day, Usher and Beyoncé. His numerous television credits include The Tonight Show starring Jay Leno, The Emmys, American Idol, The American Music Awards, and The Kennedy Center Honors. In addition, he has worked on several major live events and award shows, including some of the most memorable Super Bowl and Grammy Award performances. He has received seven Emmy Award nominations and one win for Outstanding Music Direction — Genius: A Night for Ray Charles, An Evening of Stars: A Tribute to Chaka Khan, The 50th Annual Grammy Awards, The 51st Annual Grammy Awards, The Smithsonian Salutes Ray Charles: In Performance at the White House, Stayin’ Alive: A Grammy Salute to the Music of the Bee Gees, Taking The Stage: African American Music and Stories That Changed America.

Gladys Knight, Ledisi, Mary Mary, Donnie McClurkin and CeCe Winans join previously announced performers Benny Blanco with Halsey and Khalid, Cardi B with Bad Bunny and J Balvin, Mariah Carey, Post Malone featuring Ty Dolla $ign and Carrie Underwood, with additional performers to be announced.

The American Music Awards winners are voted entirely by fans. Voting is now open in all categories.

For New Artist of the Year presented by Capital One® Savor® Card, Favorite Social Artist presented by Xfinity and Collaboration of the Year, fans can vote for each award 100 times per day, per voting platform in one or both of the ways below. Fans can vote for all other awards once per day, per voting platform.

· Via web at com

· Posting a tweet on Twitter that includes the nominee’s name or Twitter handle, the category name and #AMAs within the tweet

Voting for New Artist of the Year presented by Capital One Savor Card and Collaboration of the Year will close on Tuesday, October 9 at 5:59:59pm PT, one hour into the live broadcast. Voting for all other categories will close on Thursday, October 4 at 11:59:59pm PT.

American Music Awards nominees are based on key fan interactions as reflected on Billboard.com, including streaming, album and digital song sales, radio airplay, social activity and touring. These measurements are tracked by Billboard and its data partners, including Nielsen Music and Next Big Sound, and reflect the time period of September 15, 2017 through August 9, 2018.

YouTube Music is the presenting sponsor of the “2018 American Music Awards.”

Capital One Savor Card and Subaru of America, Inc. are sponsors of the “2018 American Music Awards.” Media partner is Cumulus Media/Westwood One

The “2018 American Music Awards” is produced by dick clark productions. Barry Adelman, Mark Bracco and Tracee Ellis Ross are Executive Producers. Larry Klein is Producer.

For the latest American Music Awards news, exclusive content and more, be sure to follow the AMAs on social and join the conversation by using the official hashtag for the show, #AMAs.

Facebook: Facebook.com/AMAs

Twitter: @AMAs

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Snapchat: TheAMAs

YouTube: YouTube.com/TheAMAs

Tickets are now on sale at www.axs.com.

About the American Music Awards

The American Music Awards, the world’s largest fan-voted award show, features performances from today’s hottest artists and presents fan-voted awards in the music genres of Pop/Rock, Alternative Rock, Country, Rap/Hip-Hop, Soul/R&B, Adult Contemporary, Contemporary Inspirational, Latin, EDM and Soundtrack, and the categories of Artist of the Year, New Artist of the Year presented by Capital One Savor Card, Collaboration of the Year, Tour of The Year, Favorite Social Artist presented by Xfinity and Favorite Music Video. The American Music Awards pays tribute to today’s most influential and iconic artists. The show is produced by dick clark productions and is seen in more than 200 countries and territories around the world. For more information, visit www.theamas.com, www.dickclark.com or abc.go.com/shows/american-music-awards.

About dick clark productions

dick clark productions (dcp) is the world’s largest producer and proprietor of televised live event entertainment programming with the “Academy of Country Music Awards,” “American Music Awards,” “Billboard Music Awards,” “Golden Globe Awards,” “Dick Clark’s New Year’s Rockin’ Eve with Ryan Seacrest” and the “Streamy Awards.” Weekly television programming includes “So You Think You Can Dance” from 19 Entertainment and dcp. dcp also owns one of the world’s most unique and extensive entertainment archive libraries with over 60 years of award-winning shows, historic programs, specials, performances and legendary programming. dcp is a division of Valence Media, a diversified media company with divisions and strategic investments in premium television, wide release film, specialty film, live events and digital media. For additional information, visit www.dickclark.com.

About YouTube Music

YouTube Music is a completely reimagined streaming music service with music videos, official albums, singles, remixes, live performances, covers and hard-to-find music you can only get on YouTube. It’s ALL here! YouTube Music serves music based on your tastes and what’s moving the community around you. Discover something new or keep up with what’s trending. Basic functions such as playing music and watching videos are totally free, but you can upgrade to YouTube Music Premium to explore the world of music ad-free, offline, and with the screen locked. Available on mobile and desktop. For additional information, visit www.youtube.com/musicpremium.

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lovediva0303 · 5 years ago

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lovediva1313 · 5 years ago

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beautshirt79 · 5 years ago

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matilda-breeze · 8 years ago

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(A very long but so very beautiful article about Harry Styles)

MTV News contributors across two hemispheres gathered this weekend to discuss Harry Styles's self-titled debut album. The verdict: We love it! At least, most of us do. Read on for much more, featuring words from Brodie Lancaster, Sinead Stubbins, Jessica Hopper, Anne T. Donahue, Hilary Hughes, Erica Futterman, Meredith Graves, Charles Aaron, Hanif Willis-Abdurraqib, and Simon Vozick-Levinson.

Lancaster: I’ve been listening to the record all day and am only just now coming to terms with how much of an outlier "Sign of the Times" is. As a single, it suggested so much about the moody, apocalyptic potential of Harry’s first post-1D music, but in the context of these horny journal entries, it seems like such a strange song to peg the record to. It still feels just as volatile and tender as when I first heard it, but in between one song about hanging out in a hallway (of which there are two on Harry Styles) and the bluesy "Carolina," it makes it seem like Harry is curiously experimenting more with genre than he’s done since the first couple of 1D records (neither of which he had much — if any — creative control over). I love that feeling of experimentation I get listening to this record — especially since I heard he cut, like, 50 tracks from the long list of potential inclusions.

Hughes: After an initial listen, I couldn’t stop thinking about that — how “Sign of the Times” was such an interesting choice for Harry’s first single, something we briefly touched on when we gushed about the track in Hits and Misses the week it came out. Harry Styles is made up of 10 singles, and he could’ve led with any of these, so it’s kind of fun to play the What Kind Of Album Will Harry Make? game based on the snap judgment that comes with savoring that first taste. The surprise at “Sign of the Times” being the only sweeping, symphonic ballad is warranted, as that was such a grandiose debut that felt like way too much of a stylistic statement to be a one-and-done deal; if “Sweet Creature” was our first listen, there’d be Niall and Ed Sheeran comparisons batted about like crazy, but we wouldn’t have been shocked if the record was seasoned more heavily with acoustic action.

“Carolina” is the breakaway favorite for me, but it’s also exactly what I expected and hoped for from this album. The mental image of Styles lounging about in John Lennon’s mod reading nook from Help! while soaking in Damon Albarn’s “Song 2” delivery, Robbie Williams’s gravity-defying choruses, and a stack of Rolling Stones LPs is almost too good to be true, and that’s the album’s first impression in a single tableau for me. Styles studied up on some of the best British rock and pop exports of the last century, picked up a couple of tricks while coming up with a few of his own, and got to work. “Sign of the Times,” in retrospect, was a stylistic fake-out that forced us to treat each track on the album like a stand-alone work.

Hopper: The first two tracks really draw a line through the historical grand majesty of U.K. rock — the way “Sign of the Times” conjures a Brian May–less Queen, aiming directly for a MOR Wembley moment, and how “Meet Me in the Hallway” reaches back through Muse, through Coldplay, through The Verve’s “Lucky Man,” through Oasis’s most demure moments, back to Donovan circa Mellow Yellow. That these two tracks are back to back and do the work of taking him out of 1D’s lineage (take that, NSYNC) and rerouting the convo from “Is he the Timberlake?” to “He Is An Artist” seems just as purposeful as any other move he has ever made.

Donahue: I was so excited when I heard “Sign of the Times”! Like Jessica said, it sounded so Queen and so Wembley and so sweeping and I was very high on the idea that he was going to deliver unto us a Robbie Williams/Bowie/George Michael–esque extravaganza. But then “Carolina” begins right after and the majesty just ... ends. And that’s not to say “Carolina” isn’t a good song, but it reminded me of the way “Never Enough” follows the ballad “Long Way Down” on Made in the A.M. You’re just kind of shoved into this bucket of cold water after getting very comfy and setting up this very distinctive narrative to set such emotional songs to. Leading with “Sign of the Times” would be like if Adele led with “Hello” and then her entire album was Rita Ora songs. And there is nothing wrong with either, but I was emotionally prepared for something very specific. At least upon first listen.

Aaron: As with so many male artists over the history of recorded pop-rock music — in whom I have no deep, personal investment whatsoever — Harry Styles is most compelling to me when submitting himself to the soul-baring simulation of the Power Ballad. Unless I’m forced to listen more intensely, on the radio or some other public platform, to the artist’s mid- or up-tempo exercises, I don’t really care. So I appreciate that Harry got straight to the cathartic point with his solo debut, and even though “Sign of the Times” is no less transparently derivative than “Sweet Creature” or “Two Ghosts” or “Carolina,” it’s just a more ... well ... powerful super-structure for our lad’s sweet-spirited, genuine joy in making emotional, accessible music for teens who see adulthood lurking sketchily behind a bush just past the soccer field. The other songs here are pleasant diversions, but they’re more geared toward these kids a year or two from now, when they’re trying to find a job or muddle through some further education program. “Sign of the Times,” though, tenderly clutches its listeners’ nervously beating hearts, as if to say, “The world is a scary fucking place and I’m Harry Styles and I’m here to say I’m scared too, but it’s going to be OK and one day you, too, will know about The Kinks and Elton John and The Strokes and many other bands that will make the scary world more bearable.”

Futterman: When I was listening to it the first go-around, I was thinking about how much pressure there is for an album like this — what it means to define yourself as an individual when you were formerly part of a group, especially when you’re trying to make a play for longevity. And it seems like Styles is making a play for longevity here, not just capitalizing on sounds du jour. What I’m also really interested in is Harry’s positioning of himself — willingly or not — as the gateway for a lot of his fans to be introduced to his influences. I vividly remember seeing my faves, Hanson, cover their faves while on tour circa 2000 and immediately going home and digging into those catalogues.

Stubbins: I agree that this album feels like a play for longevity, because it doesn’t have all the panicked urgency to distance itself from 1D like Zayn’s “I Have So Much Crazy Sex!!” debut did. Harry Styles didn’t hate being in a boy band! And I think that makes all the difference. I’ve listened to the record a couple of times now, and what stands out to me is that none of it seems forced. Harry doesn’t seem to be asserting a new identity out of insecurity that he’s never been seen as a single entity, just fleshing out his existing identity by allowing us to observe the smoky pub jukebox music that has influenced him. I think "From the Dining Table" shows that there are melancholy depths to Harry Styles that haven’t even been tapped yet (and here’s hoping for more casual masturbation references).

For me, too, Harry Styles sounds like a fan letter to U.K. rock throughout the ages. This album is the most English thing since Ian McKellen and Patrick Stewart’s last selfie, or the Dowager Countess saying something sassy (possibly all of these things have happened in a single episode of Graham Norton). While listening to the whole album, I couldn’t get the image of Harry Styles lazily flying through the freezing Scottish air over rolling green hills out of my head. If music has taught me anything, it’s that British pop stars love to be chilly in nature. (Like, a lot).

Lancaster: You’re so on the money with that, Sinead. Harry’s absence of shame or embarrassment about the music he made in 1D is why this record doesn’t feel desperate to appear grown-up in the way Zayn’s did for me. There’s a lack of artifice because while he’s experimenting, he’s doing it in a comfort zone. Maybe it speaks to Harry’s influence in One Direction’s shift toward nostalgic rock that his solo record sounds like it could be an epilogue to Made in the A.M. or Four, whereas Zayn went the broody, weed-fueled Weeknd route; Louis made that one banger with Steve Aoki; and the tiny taste of Liam’s first single reeks of Bieber's faux-edginess in his Calvin Klein undies phase. Niall and Harry shared similar ’70s rock and folk influences when they were writing for the band, so it makes sense that their solo work doesn’t feel like a jarring, surprising departure. A track like Niall’s "Slow Hands" could transition seamlessly from 1D’s "Temporary Fix," just as Harry’s "Carolina" is like a belated, gritty sequel to "Olivia."

Hopper: It’s a comfort record, absolutely, and seems authentic as can be — and yet in that way it confounds all expectations. Like, “Sweet Creature” sounds like someone wanting the intimacy and quiet sensuality of Jeff Buckley’s Grace and Ryan Adams’s Heartbreaker — and those are a strain of grown-up that’s a world away from all we have known of Harry. This sort of setting is a great use of his voice. Plenty of folks make MOR balladry like this, and much of it is insufferable, but this is an album of singles that feels like it was created with some intent and purpose, rather than simply to sell a serious revision of Harry.

Vozick-Levinson: I didn't think I was underrating Harry before — I always looked sideways at the critics who didn't get his old band — but I have to admit I never expected this. The persona he gives us here feels so complete and distinct, developing hints dropped on 1D album cuts into a fully realized character you want to meet in the hallway and ask for a hit of whatever he's on. He's strung out on the 20th-century rock canon, mainly, as you've all noted — madly in love with The Beatles and The Stones, ready to make some noise in a hotel room but even more stoked to get bittersweet and acoustic afterward. And while he clearly wants his solo debut to be a major statement, he's also smart enough not to get lost in the ego traps that snare some other male pop stars on their way there. It's the little details that make these songs work: I like how he ends the refrain of "From the Dining Table" with a half-sighed "by the way," trying to sound casual but only making it clearer how hurt he is. And I love it when he lists "she's got a book for every situation!" as one of his crush's top three most alluring qualities on "Carolina." There's something so charming to me about how giddy he is to be hanging out with someone more well-read than he is (that's how I hear that line, at least), and it speaks to the album's underlying generosity.

Lancaster: The idea of Harry reaching for a new legitimacy — whether successfully or not — is one I’m really interested in exploring at the moment. I’ve seen a handful of conversations online that basically amount to “he’s got a guitar now, he’s trying to be something more real than One Direction let him be.” I find that conversation so dull and meaningless. It aligns with a rockist mentality that men writing their own music and playing their own instruments is somehow more fulfilling or valid than a catchy pop hook or beat you can dance to.

The most wonderful thing about this record, I think, is that it’s not only in keeping with Harry’s “old stuff," but that it is very likely the space he’ll continue to work in for a long time. I can’t imagine him noticing Top 40 trends and peppering them into his work on the next record, or clutching for some new and different sound to appeal to a more quote, unquote legitimate audience.

Harry has always defied trends, whether through his personal style — wearing floral suits where his bandmates wore classic black or jeans and t-shirts — or, now, by backing the passion and dedication of the teen-girl fan base where, historically, newly solo ex–boy banders were rabid about distancing themselves from that audience in favor of new, older listeners.

Even for all the trendy nostalgia in this record, he also shrugged off his producer’s suggestion to use outdated technology to make it; on the Rolling Stone podcast, Cameron Crowe said Harry was adamant about using the most up-to-date tools today, just as his heroes did in the ’60s and ’70s, rather that backpedaling into analog for analog's sake. The idea that he’s somehow more “real” now that he’s nervously plucking a guitar (one he’s traveled with for, like, five years) is misguided.

Donahue: He’s really created a tapestry of self, which I think is what was so jarring about comparing “Sign of the Times” to everything else: I think you — or maybe it’s just me — inherently want to listen to an artist’s solo debut and “get” them. Like the way Brodie explains how Zayn very overtly distinguished himself as a particular brand of artist, or the way you know exactly what you’ll get on a Drake mixtape. But Harry’s album is almost the musical equivalent of, “Hey, come see my room!” when you make a new friend in high school or college. Like, “Come see all the things I like! Look at my records! Do you like my posters? Look at this sick lamp!” And to that end, Harry Styles is a very bold and brave declaration: He’s not hiding what he likes or who he is or what he wants us to know about him. He loves arena rock and he loves classic rock and Britpop and he likes ’00s-era British indie. He’s not a snob, and while I think we all already knew that, it's exciting to see that inclusive approach applied to his solo star cotillion.

Also, “Kiwi” reminds me so much of early Arctic Monkeys it’s bananas. And “Woman” reminds me so much of McCartney — with or without Wings, TBD. But neither feels like Harry’s playing copycat. Ultimately, all of these songs just really allude to his appreciation of the artists he loves without ripping them off. It’s all very sincere, and I think that’s why I like this album so much.

Graves: My entire sense of Harry Styles is based on (1) tweets from Maria Sherman and Brittany Spanos, and (2) the kids who persist in writing “Larry” under every post on the MTV News Instagram account. I’m a lifestyle poptimist, but I skew C86, which explains how I’ve dodged 1D for this long. Really, Harry and I are meeting for the first time with this record — and it feels like he took me on a blind date to karaoke, where he sang a bunch of songs that I could swear I’ve heard before but can’t quite place. It’s near-music, style over substance, a sonic makeover montage. Try everything on, see what fits: Sometimes there’s an overlap between Adele and early Of Montreal, sometimes it’s Fleet Foxes, sometimes, as with “Only Angel,” it sounds like Tia Carrere’s band in Wayne’s World. This is the album that happens at the place where a young man’s earnest musical aspirations collide with the limited imagination of a studio band in service to a timely debut. It’s the sound of best intentions, checked boxes, audio soylent; meant for sustenance, it will taste (or sound) just fine so long as you don’t forget its intended purpose isn’t delivering pleasure, only providing foundational nutrients. If you love this but purport to abhor Ed Sheeran, I have some questions for you ...

Donahue: Is this where I admit I don’t hate “Galway Girl”?

Willis-Abdurraqib: Some mornings, I watch the birds that hover over the dumpster outside of my apartment. They are all casual hunters, at best. For a solid week, there was a smaller bird that seemed to be getting pushed out of the feasting circle, left only with whatever scraps descended from the torn bags. One day, toward the end of the week, the smaller bird circled with all of the other birds and waited for one of its peers to fill its beak with a sizable piece of bread. The smaller bird, somehow with both patience and urgency, moved quickly and snatched the bread from the larger bird and flew away.

To be honest, these might not have all been the same birds. But what I’m mostly saying is that I love to consider the moment of intention: What something is until it decides it isn’t. First an afterthought, and then a hunter. Harry Styles is interesting to me because my entry point is that of someone who only had a passing interest in One Direction. Like so many people here, I’m a pop nerd, but by the time 1D had its heyday, I had already lived through two eras of boy bands, and I think that can breed a lot of distance and cynicism. Still, the 1D songs I heard didn’t inspire a lot of excitement in me (with the exception of a handful of songs on Four). Maybe the blessing in this is that I don’t find myself bogged down with the “take Harry Styles seriously” narrative. It would seem, just on its face, that Styles himself has made the decision that he was going to become something different than what he was. I’m only stunned by how simple the transition seems for him, when it seemed so much more awkward for Zayn.

I love “Sweet Creature,” even though I’m a Very Intense acoustic ballad skeptic. I love the hard-driving howl of “Kiwi,” even when it leans into the cheesier retro-rock chorus. I love the retro feel of opening with a song like “Meet Me in the Hallway,” complete with a softly mumbled count-in. Harry Styles, through this whole album, is the bird with the stolen bread in his beak, racing toward an endless sky, full of possibility.

#review #mtv #harry styles

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zene · 8 years ago

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TwinkleDeals by simona-altobelli featuring high-rise shorts ❤ liked on Polyvore

Kangaroo pocket sweatshirt / Calvin Klein Jeans high-rise shorts / Converse black trainers, $41 / Sequin handbag / Rhinestone bangle / Erica lyons earrings / Givenchy eyeliner / Eye makeup

#polyvore #fashion #style #Calvin Klein Jeans #Converse #Erica Lyons #Givenchy #clothing

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actionfigureinsider · 4 years ago

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Cartoon Network Announces Virtual Lineup for San Diego Comic-Con@Home, July 23

Featuring Exclusive First-Looks from “Ben 10 vs. The Universe: The Movie,” “Craig of the Creek,” “Mao Mao, Heroes of Pure Heart” and more!

Cartoon Network announced their roster of virtual panels coming to San Diego Comic-Con@Home July 23, which features first-looks and interviews with talent from Cartoon Network Studios’ fan favorites. This includes the trailer for the upcoming “Ben 10 vs. The Universe: The Movie,” and sneak peeks from “Craig of the Creek,” “Mao Mao, Heroes of Pure Heart” and more.

On Thursday, July 23, hear from industry pros as they share their career journeys in animation and the tips they’ve picked up along the way in the Cartoon Network Studios: The Art of Storyboarding panel.

Then, go behind some of Cartoon Network’s hit animated originals like the Emmy-nominated “Craig of the Creek,” “Apple & Onion,” “Victor and Valentino,” “Mao Mao, Heroes of Pure Heart” and “We Bare Bears The Movie” during the Cartoon Network Studios First Look panel.

Also, be sure to check out the “ThunderCats Roar” panel at 3:00 p.m. Producers Victor Courtright and Marly Halpern-Graser join voice cast members Chris Jai Alex, Erica Lindbeck, Patrick Seitz and Max Mittelman for a roaring Q&A session covering Warner Bros. Animation’s new sci-fi action-comedy series, currently airing on Cartoon Network.

Check out the complete list of virtual panels coming to San Diego Comic-Con@Home below. Each of the Cartoon Network panels will be available to view for free at https://comic-con.org, as well as the SDCC YouTube channel at https://www.youtube.com/user/ComicCon

Cartoon Network Studios Panels

THURSDAY, JULY 23 at 11:00 a.m. PT

CARTOON NETWORK STUDIOS: THE ART OF STORYBOARDING In this masterclass virtual panel, hear from artists behind some of Cartoon Network Studios’ hit series as they share their journeys, learnings and top tips for aspiring storyboard artists worldwide. Join leading artists behind award-winning shows to learn how a concept or script is brought to life through the beloved art of storyboarding. Panelists include: Mic Graves, director of and voice on, “The Amazing World of Gumball”; Chuck Klein, “Storyboard Royalty” and supervising producer/director, “Apple & Onion”; Julia Pott, creator of and voice on “Summer Camp Island”; and Alabaster Pizzo, storyboard artist, “Summer Camp Island.”

THURSDAY, JULY 23 at 12:00 p.m. PT

CARTOON NETWORK STUDIOS FIRST LOOK Philip Solomon, voice of Craig, and Lucia Cunningham, voice of Craig’s little sister Jessica, from the Emmy-nominated series “Craig of the Creek” host the annual Cartoon Network Studios First Look virtual panel. It’s like they are at the Trading Tree, but instead of handing out Choco Rolls they’re dishing out special announcements and exclusive clips from “Apple & Onion,” “Ben 10 vs. The Universe: The Movie,” “Craig of the Creek,” “Mao Mao, Heroes of Pure Heart,” “Victor and Valentino,” and “We Bare Bears The Movie.” See you there! (Please note, attendees are responsible for bringing their own Choco Roll).

About Cartoon Network:

Cartoon Network is a division of WarnerMedia and the #1 global animated series network, offering the best in original content for kids and families with such hits as “Ben 10,” “Craig of the Creek,” “Steven Universe,” “The Amazing World of Gumball,” “The Powerpuff Girls,” and “We Bare Bears.” Seen in 187 countries, over 450 million homes and in 33 languages, Cartoon Network inspires the next generation of creators and innovators by engaging its audience at the intersection of creativity and technology. Its award-winning pro-social initiatives, “Stop Bullying: Speak Up” and CN Buddy Network are acknowledged and often used resources for kids and adults looking for tools that can assist in dealing with the ongoing issue of bullying.

WarnerMedia is a leading media and entertainment company that creates and distributes premium and popular content from a diverse array of talented storytellers and journalists to global audiences through its consumer brands including: HBO, HBO Now, HBO Max, Warner Bros., TNT, TBS, truTV, CNN, DC, New Line, Cartoon Network, Adult Swim, Turner Classic Movies and others. Warner Media is part of AT&T Inc. (NYSE:T).

About Cartoon Network Studios:

Established in 2000, Cartoon Network Studios (CNS) is a global animation and interactive studio recognized for its innovative approaches to IP development and world-building. Fostering a creator-driven environment, CNS is home to hundreds of visual artists who have been a part of the studio’s many critically acclaimed and groundbreaking animated series including “Adventure Time,” “Ben 10,” “Craig of the Creek,” “Steven Universe,” “The Powerpuff Girls,” and “Victor and Valentino.” CNS has also produced notable Adult Swim hits such as “Primal,” “Samurai Jack,” and “Harvey Birdman, Attorney at Law.”

CNS has been honored with multiple awards and accolades including: Emmy, Peabody, GLAAD and Annie Awards. Internationally, the studio also garnered the BAFTA, Italy’s prestigious Pulcinella Award and Annecy Festival’s Cristal Award. Currently, CNS houses a VR lab, and produces an array of interactive formats and products for youth and young adult audiences around the world. As part of its ongoing efforts to discover unique and promising voices everywhere, the studio has a robust global Artist Program and has numerous partnerships, including Exceptional Minds, Black Women Animate and California Institute of the Arts.

Cartoon Network Announces Virtual Lineup for San Diego Comic-Con@Home Cartoon Network Announces Virtual Lineup for San Diego Comic-Con@Home, July 23 Featuring Exclusive First-Looks from “Ben 10 vs.

#2020 #Cartoon Network #Comic Con

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