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monaedroid · 7 years ago

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On a hot December afternoon, the sky hazy from wildfires that raged just beyond the Los Angeles city limits, a handful of people gathered outside a nondescript Super 8 motel off Sunset Boulevard. Nearly all were dressed head to toe in black: elegant crepe shirts, fitted leather pants, wide-brimmed hats. The group made their way inside to the Girl at the White Horse, a discreet bar nestled in the space below the motel. Here, the air was still hazy — the synthetic kind, from a machine — and lights tinted the room pink and red, colors of the heart. Low vibrational tones, not unlike those coaxed out of Tibetan singing bowls, droned in the background. Most of the invitees worked for radio stations, record labels or awards shows, and while they waited, they ordered cocktails created for the event: “Pynk” (rosé, gin, aperol and grapefruit) or “Screwed” (pineapple-infused tequila, lime, agave with a touch of pepper).

As the sounds faded, the guests turned their attention to the eight women marching into the bar. Each wore aviators, leather jackets over black bodysuits and brightly colored tights. They struck dramatic poses — an arm flung over an eye, a hand on a cocked hip, a leg held askew — and paused as the singer Janelle Monáe strolled into the room and took her place in the middle. She was dressed in a studded motorcycle jacket over a white crop top, black palazzo pants, suspenders, a derby wool hat and mirrored sunglasses. A navel-length ombré rattail snaked over her shoulder. For a moment, she stood perfectly still, letting the room drink her in.

Monáe was presenting a preview of “Dirty Computer,” her first solo studio album in five years, and the anticipation was as palpable as the smoke filling the room. On an indiscernible cue, an apocalyptic electropop bop about partying in a dystopian world began to play: “I hear the sirens calling, and the bombs start falling, but it feels so good.” The women broke into choreographed moves — toe stands, neck rolls, Michael Jackson spins, footwork that summoned the Charleston and James Brown. Many artists now share new music via encrypted downloads, but Monáe insisted on introducing her songs live. After watching her for a few minutes, it became clear why. The room was mesmerized, feeding off the energy emitted by Monáe and her backup dancers. An oversize man in loafers aggressively played air guitar. Others bounced their shoulders, nodded their heads, shuffled their feet in a two-step. Few stood still.

The performance reached its peak on a song called “I Got the Juice.” During the chorus — a percussive trap riff that will be best appreciated blasting out of an expensive car stereo — Monáe dropped to her knees below a disco ball as her dancers swarmed around her, fanning her with large exaggerated motions, less to cool her off than to emphasize the white-hot intensity of her moves. While she gyrated on the ground, the women danced around her in a circular “Soul Train” line: They did the Milly Rock, spun in tight twirls, snapped their fingers, fanned themselves and their own behinds. As the song trilled its last few beats, Monáe and her dancers slowed, laughing and wiping their brows. The room burst into applause.

Monáe took a bow and picked up a microphone. “I just had a lot of fun,” she said. “I’m very excited about where we’re going this time.” Then she took a beat to breathe. Her body was still heaving from the dancing, but she suddenly looked grim, transformed from artist to activist. “This is the first time I’ve felt threatened and unsafe as a young black woman, growing up in America,” she said. “This is the first time that I released something with a lot of emotion. The people I love feel threatened. I’ve always understood the responsibility of an artist — but I feel it even greater now. And I don’t want to stay angry, but write and feel triumphant.”

Monáe released her official debut EP, “Metropolis,” in 2007, when she was just 21. The cover showed her head topped with an elaborate pompadour, attached to a robotic female torso in disrepair — frayed wires snaked out of arm sockets and beneath a breastplate. This was Cindi Mayweather, a time-traveling android whose story the album tells: After falling in love with a human named Anthony Greendown — a union forbidden by the legislation of their time — Mayweather is marked for disassembly, and a bounty is placed on her head. The album ranged from poppy dance songs like “Violet Stars, Happy Hunting” — which cleverly evokes the history of black fugitives with lines like “I’m a slave girl without a race” — to symphonic ballads like “Sincerely, Jane,” which begs for compassion for Mayweather’s plight, urging “daydreamers, please wake up.” “Metropolis” was “West Side Story” for the cyberage — instantly earning fans among R. & B. and psychedelic-rock listeners, not to mention young black girls like myself, who saw themselves equally in Pink Floyd and TLC and were hungry for narratives starring women who weren’t hypersexualized and perhaps even a bit nerdy.

The album earned Monáe a Grammy nomination for the song “Many Moons.” She would go on to collect five more nominations across two more albums, both of which starred her alter-ego, Mayweather. For years, Monáe remained safely cocooned within the character. “Cindi helps me talk more,” she said; through Mayweather, she could address things she didn’t feel comfortable talking about directly. “You can parallel the other in the android to being a black woman right now, to being a part of the L.G.B.T.Q. community,” she said. “What it feels like to be called a nigger by your oppressor.” Mayweather was a proxy for all the things about Monaé that made others uncomfortable, like her androgyny, her opaque sexual identity, her gender fluidity — her defiance of easy categorization.

But then Monáe shifted her attention to acting. She made her film debut as the de facto surrogate mother of a young black boy in “Moonlight,” which won the Oscar for Best Picture last year; she starred, with Octavia Spencer and Taraji P. Henson, in the blockbuster “Hidden Figures,” about early black female mathematicians. Fans wondered if she would commit to films, where she could attain a level of fame that can be elusive in music. But part of the reason she was slow to return, she told me, is that her mentor, Prince, died unexpectedly. They were working together closely on what would become “Dirty Computer.” “This was the person that I would literally call and talk to about sounds or: ‘How should I say this? Is this saying too much?’ I just never could imagine a time where I couldn’t pick up the phone or email him, and he’d contact me right back and we’d talk about all these things that I was unsure of.”

The music Monáe introduced on that dusty afternoon in Los Angeles marked her highly anticipated return. “Dirty Computer,” a celebratory ode to femininity and queer people, seems to signal a new era in her career: If in the past she seemed distant, using Mayweather to stand in for the real Monáe, she now seems ready to present herself to the public. “Right now I’m escaping the gravity of the labels that people have tried to place on me that have stopped my evolution,” she told me. “You have to go ahead and soar, and not be afraid to jump — and I’m jumping right now.”

‘I knew I needed to make this album, and I put it off and put it off because the subject is Janelle Monáe.’

Two months later, in February, I was in the back of an Uber, riding southwest toward a subdivision of Atlanta. After a pause at a security gate, the car drove through an upscale, predominantly black community, past typical suburban scenes — teenagers shooting hoops, people taking out their garbage, men working on their cars. I was heading to Wondaland Arts Society, Monáe’s creative headquarters. Its inspiration is Paisley Park, the elaborate compound outside Minneapolis that housed Prince’s rehearsal space, recording rooms, concert venue and countless parties. Several years ago, Monáe established the Wondaland label — one of the few black women to have a label of her own — and signed several acts, including the band St. Beauty (one member, Isis Valentino, was a backup singer for Monáe) and the singer and rapper Jidenna. The Wondaland artists often practice together and appear on one another’s albums. And the compound, where the artists often crash, has become a center of black culture in Atlanta. Much of “Black Panther” was shot in and around the city, and the cast held impromptu gatherings at Wondaland. At one, Chadwick Boseman whaled on the drums and Lupita N’yongo was hailed as the best dancer. They were among the first to hear “Dirty Computer,” and their approval gave Monáe’s confidence a boost. “I felt understood,” she told me. “I felt like, Man, these are people I admire and I respect, and they love this album. I have to finish it.”

Outside Wondaland, eight cars lined the long driveway, and staccato bursts floated from an open window upstairs. It sounded like band practice, a score being workshopped. I recognized the music from “Dirty Computer.” A Wondaland staff member named Kelly greeted me at the door and gave me a quick tour. From the outside, the house looked like any other Southern McMansion, but the entryway immediately suggested something different. Thick, leafy palm trees crowded the foyer so densely that I had to wrestle them to get through. A handwritten note asked guests to slip off their shoes. An archway was decorated with a dozen or so clocks, in different shapes and colors, their hands frozen at various times.

Before I went down to the sprawling lower level where Monáe and I would talk, I poked my head into a few of the rooms on the first floor, all filled with recording equipment and more luscious tropical plants. People seemed to be having casual meetings in many of them. There was a large wraparound kitchen, where a woman was chopping army quantities of vegetables. On the dining-room table, there was a chocolate cake surrounded by red and blue balloons, a bottle of sparkling rosé and a laserjet printout that read in block caps: “CONGRATULATIONS, YOU DIRTY COMPUTER.”

The stairs to the basement were covered with green turf, so that even as my eyes adjusted to the dimming light, my feet were receiving the pleasantly disorienting sensation of outdoors. Downstairs, there were tropical plants everywhere; brilliant orange-and-white fish swam in an expansive tank bathed in purple lights. I counted at least five keyboards, eight guitars, two drum kits, a piano, a cello, a trumpet and a saxophone. A stack of books piled on an end table included “Writing Better Lyrics,” “Sapiens,” “Zen Guitar” and “Built to Last,” a book on business management. There was a desk crowded with sound mixers and synthesizers, and a box set of Jimi Hendrix CDs. A minifridge was stocked with seltzer, wine and water, and a bottle of absinthe stood on the desk.

Monáe soundlessly padded into the room, clad in a velour caftan, gold earrings and rings to match. She was barefoot, her toes painted metallic silver. She had arrived from Los Angeles that morning, and tried to take a nap, but Jidenna, who was in town, woke her up with his practicing. Though she apologized for being tired, she was buoyant. It had been 24 hours since her first two singles — “Django Jane” and “Make Me Feel” — were released, and both were trending on social media. “I’m still nervous, obviously, but I��ll enjoy this moment,” she told me, as she arranged herself more comfortably on a chair next to the couch where I was sitting. “But I won’t drive myself nuts trying to preplan what people are going to say, what they’re going to think, even though it terrifies me — I just have to put my energy into finishing.”

Monáe, who is 32, told me that she has been circling the themes explored on “Dirty Computer” for at least a decade, but that earlier it felt safer to package herself in metaphors. “I knew I needed to make this album, and I put it off and put it off because the subject is Janelle Monáe.” She’s still having a conversation with herself, she said, about who she wants to be when she’s in the spotlight. The sanitized android version felt more accepted — and more acceptable — than her true self. The public, she explained, doesn’t really “know Janelle Monáe, and I felt like I didn’t really have to be her because they were fine with Cindi.” When Prince died in April 2016, she started to rethink how she would present herself. “I couldn’t fake being vulnerable. In terms of how I will be remembered, I have anxiety around that, like the whole concept about what I’ll be remembered for.”

At its core, “Dirty Computer” is a homage to women and the spectrum of sexual identities. The songs can be grouped into three loose categories: Reckoning, Celebration and Reclamation. “The first songs deal with realizing that this is how society sees me,” she said. “This is how I’m viewed. I’m a ‘dirty computer,’ it’s clear. I’m going to be pushed to the margins, outside margins, of the world.” “D’Jango Jane” is an ode to black power and pride that is also a dirge about the struggles that come with that heritage. The middle half of the album is a raucous party. “It’s like, O.K., these are the cards I’ve been dealt,” she said. These songs include “Make Me Feel” and “Pynk” — the sizzling, sex-drenched songs that titillated the internet when they were released earlier this year. The album winds down with an anthem about being an American, whose sound evokes Prince’s “Let’s Go Crazy,” with lyrics like “love me for who I am,” and “cross my heart and hope to die, I’m a big old piece of American pie.”

Monáe will release an extended musical film with the album that illustrates and complements “Dirty Computer.” The 50-minute “emotion picture,” as she calls it, follows a young woman, played by Monáe, on the run from an authoritarian government that hunts down so-called deviants and “cleans” them by erasing their memories. Those memories serve as the musical interludes (the videos) amid the drama — “Handmaid’s Tale” meets “San Junipero,” set in a desiccated “Mad Max” landscape. It follows a crew of young kids, mostly black, dancing and dodging capture. Longtime fans will recognize the parallels to Mayweather — which Monáe expects — but instead of focusing on a fictional male human lover, the object of her affection is the actress Tessa Thompson, with whom Monáe is frequently photographed in real life. A beautiful man whom she occasionally hugs and kisses makes appearances, but he feels like an afterthought. Plausible deniability. The star-crossed romance between Thompson and Monáe, and whether they will be separated or reunited, is the true narrative of the film.

Most popular music is so determinedly centered on heterosexual dynamics that any hint of same-sex interactions can feel revelatory, even radical, upon the first encounter. That’s the way it felt to me when I first watched Monáe’s film. The queer sexual interactions are refreshingly explicit — miming digital and oral sex — and images throughout celebrate women. The video for the song “Pynk” is an extended appreciation of the female anatomy, with neon signs screaming, “[Expletive] Power,” and pink-frilled jumpsuits that wouldn’t look out of place in a Judy Chicago installation.

Already much of social media has speculated on the nature of Monáe and Thompson’s relationship, and this film — especially with scenes like Thompson poking her head from between the legs of Monae’s pink vagina pantsuit — is certain to only inflame those rumors. The first time I saw the video for “Make Me Feel,” months before its YouTube release, I found it so sexually suggestive (Thompson appears throughout the song, fawning over Monáe, dancing with her, almost kissing her) that I immediately texted the woman I was dating at the time, “omg janelle might really be gay.” It felt as declarative as a coming-out could. And yet in person, Monáe would say only that she felt this was her coming-out as an advocate of women and queer issues. “I want it to be very clear that I’m an advocate for women,” she said. “I’m a girl’s girl, meaning I support women no matter what they choose to do. I’m proud when everybody is taking agency over their image and their bodies.” She told me that she wanted the album to be especially relevant to black women and queer women, for them to feel seen and heard in this album. “I felt that way when I listened to Lauryn Hill, as I was trying to find myself as a young woman, I felt that way when I listened to Stevie Wonder when I was trying to understand God more.”

I asked Monáe what she thought of the internet’s speculation about her romantic relationship with Thompson. Watching her as she decided on a response was like watching a mathematician working out Fermat’s Last Theorem. Gears were churning; calculations were being made. Finally, she laughed, raised her eyebrows and deflected: “I hope people feel celebrated,” she said. “I hope they feel love. I hope they feel seen.” It was late into the evening, and I was conscious of how long we’d been talking — at least two hours — and let it drop. But the issue lingered for me, especially the more times I watched her film.

These days, the culture seems more accepting and welcoming of queerness: Young actors and pop stars like Amandla Stenberg and Lady Gaga are identifying publicly as bisexual. Lena Waithe and her fiancée were recently photographed by Annie Leibovitz for Vanity Fair. And yet, nonheteronormative sexuality remains the last taboo. Monáe is media-savvy enough to protect herself from becoming tabloid fodder for publications that want to turn her personal life into spectacle or reduce her art to her sexuality. She told me repeatedly that she worried what her early fans and very religious and very Southern family would think. There’s little precedent for a black female celebrity at her level living openly as a lesbian in a gay relationship.

Monáe has spent a lifetime perfecting the art of being a pop star who isn’t a sexual object. Discretion is a survival strategy, a coping mechanism especially useful for black women living in the public eye. But she has now made an explicit album about sexual expression and identity that is somehow still shrouded in ambiguity. In 2018, empowerment isn’t a color — it’s a call to action. It’s Cardi B talking about how much she loves her vagina, not holding a neon sign explaining that she has one. On “Dirty Computer,” it still feels as if Monáe is deciding which version of herself to show the world — or that this is the tentative beginning of a larger reveal.

Monáe grew up in a large yet tightknit family in Kansas City, Kan., the kind with relatives in the double digits. Money was scarce, but they made do. Her parents worked in the service industry, her mother as a janitor and her stepfather as a postal worker. Her mother was a Baptist but didn’t mind when Monaé listened to racy R. & B. songs by groups like Jodeci or rappers like Tupac. Her great-grandmothers played organ in church and taught piano. Her biological father sang. She thinks he could have gotten a record deal if he hadn’t battled an addiction to crack. Her mother left him when Monáe was a toddler and remarried. He was in and out of prison Monáe’s entire childhood. “He’s sober now,” she told me, and the author of a memoir in which he writes about Monáe: “She always had this distinctive look in her eye that said: ‘I’m going to make it! No matter what!’ And I believed that she would.”

As a teenager, Monáe was enrolled in a young playwrights’ program and performed in talent showcases on the weekend, where she sang Lauryn Hill songs a cappella and usually won. She watched movies like “The Wiz” but struggled with the same question that all black children weaned on American pop culture eventually reckon with: Is this all there is?

After high school, she moved to New York to study musical theater at the American Musical and Dramatic Academy. She couldn’t afford to live on campus, so she shared a room at 140th and Amsterdam with an older cousin, who worked nights at the Post Office. They each took a shift sleeping while the other was at work or school and saw each other on the weekends. Her congregation supplied some funds, and Monáe did some work as a maid to make ends meet. She spent the rest of her time in libraries, reading plays and practicing monologues. Her best friend was studying in Atlanta and regaled her with tales of wild parties and the camaraderie of black Greek life. “It was just more exciting than what I was doing,” she said. She liked the rigor and discipline of her school but worried she would lose her edge: “I didn’t want to sound, or look or feel like anybody else.” She made the decision to leave New York after a year and a half.

Monáe eventually settled in a boardinghouse that was directly across from the university center that contains all four of Atlanta’s historically black colleges: Clark Atlanta University, Spelman College, Morehouse College and the Morehouse School of Medicine. She went to Georgia State University’s Perimeter College to save money and began to write her own music. Atlanta in the early 2000s was a hotbed for musical innovation, with artists like OutKast spinning their eccentricities and distinct Southern identity into record deals and national fame. Monáe began experimenting with her own sound, performing around campus — in dorm rooms, at school events and, once, on the steps of the library. She made a CD called “The Audition” and sold it out of the trunk of her Mitsubishi Galant. She worked at Office Depot and during slow moments updated her Myspace page with new photos and music.

During this period, she met Mikael Moore, her longtime manager, and his classmates Chuck Lightning and Nate Wonder, who would eventually became close collaborators and form the backbone of all her creative efforts — writing songs with Monáe and directing her videos, which they continue to do. At an open-mic night, she met Antwan Patton, otherwise known as Big Boi, from OutKast. He invited her to contribute to “Got Purp? Vol. II,” a 2005 compilation album that featured artists of Dirty South rap like Goodie Mob and Bubba Sparxxx but few other women. She also appeared on the soundtrack for “Idlewild,” the 2006 musical film starring Patton and André Benjamin, or André 3000, Patton’s partner in OutKast.

Sean Combs, the producer also known as Puffy at the time, reached out to her after her work with Big Boi put her on his radar. Monáe had already taken a few meetings with record executives, and was disillusioned by those early encounters. They criticized her style, which then involved, sartorially, androgynous suits, and musically, operatic odes to her character Cindi Mayweather. During one performance, she noticed midsong, breathless and sweating from the effort of dancing and singing, an executive casually reading a magazine. “I cried,” she said. “I mean, I cried.” She made Puffy a deal: She had just finished “Metropolis.” She’d hear him out if he came to see her perform. “It was important to know if he was serious, that he was going to appreciate me and not try to change my live show or my music.” Combs halted filming on his reality show, “Making the Band” and flew down. He loved what he saw. “He said, let’s meet tomorrow and let’s talk,” Monáe recalled.

Combs told Monáe that he wanted to introduce her to a larger audience. “I knew I had to work with her,” he told me via email. “It was immediate. I just knew she was going to be important to music and culture. It was the same sort of feeling I had when I first heard Biggie or Mary J. Blige, and I wanted to help introduce this artist to the world.”

In 2008, Combs announced the signing of Monáe to his label, Bad Boy Records. They rereleased “Metropolis” and then followed up with “The ArchAndroid” in 2010 and “The Electric Lady” in 2013 (as well as “Dirty Computer”). Monáe went on tour with No Doubt and Bruno Mars and collaborated with Solange Knowles and Erykah Badu. She landed an endorsement with CoverGirl. She was being sent movie scripts. None moved her until she read the one for “Moonlight.”

Yesi Ramirez, the casting director on the movie, had flagged Monáe for the director Barry Jenkins, and they scheduled a screen test over Skype. When she appeared, her hair filled the frame, even more than her face. He was startled. “I wanted to call her Auntie. I was used to the pompadour, and this larger-than-life entity, the outer-space person that I’d seen live in Oakland with Erykah Badu, and I had to reconcile that person with this person before me,” he said. “We started talking, and it was very clear that she got it.”

During the beginning of production, Monáe lost a relative to gun violence. Jenkins felt that the story of Chiron, the boy whose life the movie follows as he matures, spoke to her because she knew young men like him, lost and struggling to make sense of their sexuality — and understood the way strangers can raise you as much as your biological family can. “She felt it was important that someone like that be centered in a narrative,” Jenkins told me. “And whatever she could do to bring it to larger light, she was down for.”

For Monáe, “Moonlight” and then “Hidden Figures” were a way to convey the message she has striven over and over to convey: recognition and validation for people overlooked by society. “I was, like, this is just another way to get out the message I’ve been trying to talk about for so [expletive] long that I feel like I don’t know if anybody is listening,” she told me. “You can show people better than you can tell them.”

Rain is Kryptonite to social outings in L.A., but bad weather could not touch the mood in the room at Catch LA in early March. There were a few men — Jay Ellis from “Insecure,” as well as Monáe’s team of male collaborators — but women were everywhere: Ava DuVernay, Rosario Dawson, the director Dee Rees accompanied by her partner, Sarah Broom, Debra Lee, the president of the BET network. The actresses Danai Gurira and Lupita Nyong’o arrived together. Geena Davis watched the scene approvingly from a nearby table. The former editor of Teen Vogue, Elaine Welteroth, held court at another. The New York DJ Kitty Cash played songs, mostly by female artists. Tessa Thompson bounced around in a gorgeous yellow-and-pink feathery coat and leather pants, occasionally at Monáe’s side. The women had gathered for a brunch that Monáe was hosting for her “Fem the Future” project to support women in the entertainment industry. Monáe had chosen three female filmmakers to make short films funded by Belvedere vodka that answered the question: What does a beautiful future look like? The event was nominally to celebrate them but more largely to gather in one room actors, writers, directors and producers Monáe admired.

Monáe, dressed in a Bella Freud ice-blue velvet suit, matching glitter eyeliner and perfectly matte red lips, walked to the front of the restaurant and picked up a microphone. “This room looks good,” she said. “You inspire me and encourage me to be a better woman and artist.” Earlier in her career, she said, she asked some label reps to recommend other female producers and creators she could work with. The list they provided stunned her. “It was so tiny,” she said. “I was upset.” To channel that anger, she said, she started her initiative to help women “cross-connect and open doors,” as she put it. “It gives everybody a seat at the table.”

Throughout my conversations with Monáe, she talked about her dedication to lifting up women. Some of that didn’t quite square with me — most of the crew that supports her creatively, spiritually, administratively seem to be men. But Monáe’s event felt like a mild insistence that she got it. This brunch seemed like a woman-centric version of a few rounds on the golf course — a space that emphasized the importance of networking, beyond film sets, parties and premieres as a means to lay the groundwork for future collaborations. Seeing her in that capacity reminded me that she’s still evolving into the woman she wants to be in the world and the role she wants to play.

A few years ago, the singer and actor Harry Belafonte was asked by a reporter for The Hollywood Reporter to comment on “members of minorities in Hollywood today.” Belafonte, a prominent civil rights activist who helped organized the 1963 March on Washington where the Rev. Dr. Martin Luther King Jr. gave his “I Have a Dream” speech, took the opportunity to express frustration about what he perceived as the political malaise of celebrities. “I think one of the great abuses of this modern time is that we should have had such high-profile artists, powerful celebrities,” he said, “but they have turned their back on social responsibility.” Until recently, few publicly stepped in to fill the hole he named. In the past, Monáe shied away from anything that could potentially derail her career. “I used to be a lot more afraid of going off script,” she told me.

She emerged as an activist in August 2015, at a demonstration in Philadelphia she led in support of the local Black Lives Matter movement. There’s a photo of Monáe surrounded by most of the artists in the Wondaland collective: Jidenna, St. Beauty, Roman GianArthur, Chuck Lightning and the producer Nana Kwabena. Their mouths are open, midchant, and the look on their faces is determined. They are holding drums, signs, one another. For Monáe, the times were too urgent to ignore. Freddie Gray and Sandra Bland had recently died following controversial encounters with the police. She realized she had a voice that she could use. That she needed to use. A few days later, Monáe released the anthem “Hell You Talmbout,” which is less a song than a chant. At nearly seven minutes long, it calls out the names of black men and women who were victims of police brutality, followed by the urging to say their names. It was a significant moment in her career: She would no longer be cautious when it came to social responsibility. The song came out almost a year before Beyoncé’s breaking-chains “Freedom” or Solange Knowles’s primal scream on “A Seat at the Table.” A few months later, Ava DuVernay and Ryan Coogler gave a benefit concert in Flint, Mich., to raise money for the clean-water-deprived city that was also a boycott of the Oscars. Monáe performed alongside Stevie Wonder, Vic Mensa and Hannibal Buress. Monaé told me that in the past, she tended to write anthems for other people. “I don’t always live them, I don’t. And I’m learning more and more to live them, to make myself live them.”

Her highest-profile moment came with the 2017 presidential inauguration. Monáe was invited to speak — as well as sing — at the Women’s March by Ginny Suss, a member of the organizing committee in charge of music. Suss wanted artists whose music reflected their personal politic. “When you look at the arc of her career, there has always been a moral core and ethical center to her music, that breaks down constructions of race and gender in our society,” Suss told me. “It’s a tool to imagine the world we want through the accessibility of pop music. Having her stand up and have that voice at the march was amazing.”

Monáe had heard that Lucia McBath, the mother of Jordan Davis; Sybrina Fulton, the mother of Trayvon Martin; and Gwen Carr, the mother of Eric Garner, were going to be there, too, and she wanted to offer support. She herself was still reeling from the election, she added. “I just wanted to come and not only uplift, but I wanted to be uplifted, too.” As she made her way backstage, she got a sense of the crowd for the first time. “I saw, like, tens of thousands — hundreds of thousands of women and men and people from all around the world, babies and Muslims and trans and L.G.B.T. folks,” she recalled. “I was like, Oh, my God.” She hadn’t expected such a tremendous turnout, for so many people to care about what happens to women. The importance of the task hit her. But there was no privacy backstage, no place to prepare or gather her thoughts — just a communal room where the speakers were chatting and taking photographs. Monáe had no choice but to wing it. “That was just one of those moments where I was just, like, It might not come out right, but as long as your intentions are pure, as long as you’re honest,” she told me. She drew from the mixture of emotions stirred up by her recent role in “Hidden Figures,” about female African-American mathematicians suffering from discrimination even as they performed pivotal jobs for the National Aeronautics and Space Administration during the American space race of the 1960s. “Everything that was going on in January felt like that era, when we’re talking about a blatant war on women’s rights.”

She appeared calm as she addressed the enormous crowd. “Women will be hidden no more,” she said. “We have names. We are complete human beings.” For many people, the speech cast Monáe in a new light: she became more than a psychedelic Tim Burton character. The response galvanized her. “I just had to speak from my heart,” she said. “Not a lot of artists do it.”

This January, she took the stage at the Grammys, where she delivered a short speech to introduce the singer Kesha, who’d had a legal battle with her former producer Dr. Luke. A member of TimesUp, a Hollywood initiative to fight sexual harassment, Monáe wore its pin proudly on her black suit as she called out the music industry for its epidemic patterns of sexual harassment and assault. “We come in peace, but we mean business,” she said to the crowd. “Just as we have the power to shape culture, we also have the power to undo the culture that does not serve us well.”

In Atlanta, after our conversation at Wondaland, Monáe seemed to get a second wind. The band upstairs had resumed practicing for her forthcoming tour, and she wanted to check in on their progress. She invited me to join her. If the basement was where ideas began to gestate, then the room she led me to was where they were polished before leaving the house. It had a ballet barre and floor-to-ceiling mirrors. She disappeared for a few minutes before returning in black leggings and the same cropped moto jacket from the presentation in Los Angeles.

Monáe greeted everyone in her band — the drummer, keyboard player, guitarist and two backup singers — hugging them and taking a few moments to inquire about their health, their families, their side projects, before taking her position in front of them. She patted her pockets, searching for a missing item, which she spied on a speaker: mirrored sunglasses. She put them on and nodded to the band. They launched into “Make Me Feel” and then “I Got the Juice,” and she ran through them a few times, losing herself a little more in the music during each performance.

Despite the accolades and Grammy nominations, Monáe has yet to achieve significant commercial success. If there’s a moment that her entire discography has been building toward, it is right now, with this release. Her desire for a win shone nakedly. She sneaked coy peeks at me to see if I was paying attention. It was impossible to tear my eyes away, not to want for her what she so clearly wants for herself. At the completion of each song, Monáe would grin, breathless. “That’s going to sound so good live,” she said, happily. But then the perfectionist came out again. She asked the band what else they had prepared. The sheepish answer came: Nothing. She paused, letting her displeasure seep out for few moments, just enough for them to know that they’d need to step it up. “Well, all right, then,” she replied. “Let’s go through them again.”

In all our encounters, Monáe seemed as if she was bracing herself for anything, including the worst — harsh reviews, irrelevancy, dismissals. But all that carefully maintained composure fell away as she twirled and dropped to her knees. Earlier, I asked her what she ultimately wanted: awards? Album sales? Money? She referred to Prince again: He was in that “free [expletive] category,” she said. “That’s where I want to be. That’s where I want to ultimately be.”

https://www.nytimes.com/2018/04/19/magazine/how-janelle-monae-found-her-voice.html?smid=pl-share

#rap and hip-hop #janelle monae #janellemonae #new york times #newyorktimes #dirty computer #dirtycomputer

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gardendroid · 7 years ago

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FASHION // APPEARANCE STATS !!

BOLD what applies to your muse TAGGED: stole it from my s e lf (my other blog) TAGGING: MMMM ALL but i’ll try to tag a bunch-- @defyloyalty, @hnkanderson, @313248317, @softconnor, @wr6oo, @heuristicmade, @hiiveminds, @russiansteel, @roofbled, @indurare, @deviantleader, @fightfree, @justaki3, @creatcr, @missionmade, @barbiemade, @isolationtender, @jedicollins, @fxckingandroids, @lionsdxn, @licensedprick .

BODY.

Long legs. Short legs. Average legs. Slender thighs. Toned thighs. Thick thighs. Muscular thighs. Skinny arms. Toned arms. Soft arms. Muscular arms. Toned stomach. Flat stomach. Flabby Stomach. Soft stomach. Six-pack. Beer belly. Lean frame. Beefy/muscular frame. Voluptuous frame. Petite frame. Lanky frame. Short nails. Long nails. Manicured nails. Dirty nails. Flat ass. Toned ass. Bubble butt. Thick ass. Small waist. <eh medum waist>. Thick waist. Narrow hips. Average hips. Wide hips. Big feet. Average feet. Small feet. Soft feet. Slender feet. Calloused hands. Soft hands. Big hands. Average hands. Small hands. Long fingers. Short fingers. Average fingers. Broad shoulder. Narrow shoulder. Underweight. Average weight. Overweight.

HEIGHT ( click here to convert to feet ).

Shorter than 140 cm. 141 cm-150 cm. 151 cm to 160 cm. 161 cm to 172 cm. 173 cm to 180cm. 181 cm to 190 cm. 191 cm to 2m. Taller than 2 m.

SKIN.

Pale. Rosy. Olive. Dark. Tanned. Blotchy. Smooth. Acne. Clear. Dry. Greasy. Soft. Scarred. Stretch marks. Burns easily [WHEEZe]. Freckled. Wrinkled. Pockmarked.

EYES.

Small. Large. Average. Grey. Brown. Blue (?). Black (?). Green. Gold. Hazel. Red / Violet / Pink. Heterochromia (?). Contacts. Doe-eyed. Almond. Close-set. Wide-set. Expressive. Monolid.Tapered lid. Heavy eyelids. Upturned. Downturned. Glasses. Sunken. Dark circles. Inhuman.

TEETH.

Straight. Crooked (slightly). Overbite. Underbite. Braces. Buck teeth. Elongated canines. Sharp. White. Dirty. Stained. Fillings. Chipped. Caps. Spaced. Tooth gap.

HAIR.

Thin. Thick. Fine. Normal. Greasy. Dry. Soft. Shiny. Curly. Frizzy. Wild. Unruly. Straight. Smooth. Wavy. Floppy. Cropped. Pixie-cut. Shoulder length. Back length. Waist length. Buzz cut. Undercut. Bald. A bit below the jaw length. Mohawk. White. Platinum blonde. Orange blonde. Golden blonde. Redhead. Dirty blonde. Blonde. Ombre. Light brown. Mouse brown. Chestnut brown. Chocolate brown. Dark brown. Jet black. Ginger. Auburn. Copper. Dyed any “unnatural color”.Thin eyebrows. Average eyebrows. Thick eyebrows. No eyebrows. Hairy arms. Hairy legs. Hairy chest. Clean shaven.

[below here I’m just going to go with Ralphs TASTES not just what he’s wearing (tho they’re included)]

TATTOOS / PIERCINGS.

Full sleeve. Thigh tattoo. Neck tattoo. Chest tattoo. Back Tattoo. One tattoo. A few here and there. Multiple. No tattoo. Monroe piercing. Nose piercing. Septum. Nipple piercing(s). Genital piercing(s). Industrial piercings. Earlobe piercing. Prince Albert piercing. Eyebrow piercing(s). Tongue piercing(s). Lip piercing(s). Tragus piercing. Angel bites. Snake bites. Labret. Stretches out ears. Navel piercing. Inverse navel piercing. Cheek piercing(s). Smiley. Nape piercing(s). No piercing.

COSMETICS.

Eyeliner. Light eyeliner. Heavy eyeliner. Cat eyes. Mascara. Fake eyelashes. Matte lipstick. Regular lipstick. Lipgloss. Red lips. Pink lips. Dark lips. Bronzer. Highlighter. Eyeshadow. Neutral eyeshadow. Smoky eyes. Colorful eyeshadow. Blush. Lipliner. Light contouring. Heavy contouring. Powder. Matte foundation. Shiny foundation. Face paint. Concealer. Eyebrows. Wears make up regularly. Wears it from time to time. Uses only light makeup. Heavy makeup. Never wears make-up.

SCENT.

Floral. Fruity. Perfumes. Aftershave. Cocoa. Spicy. Moisturizer. Shampoo. Cigarettes. Leather. Sweat. Food. Incense. Marijuana. Herbal. Alcohol. Cologne. Whiskey. Wine. Fried food. Blood. Metallic. Smelly. Burnt.

CLOTHES.

Jeans. Tight pants. Baggy pants. Belt. Belt buckle. Beanies. Hat. Goggles. Ankle socks. Overknee socks. Tights. Leggings. Yoga pants. Pencil skirt. Tight skirt. Loose skirt.Tight/formfitting dress. Cardigans. Blouse. Button up shirt. Band-T-shirt. Sports t-shirt. Sweatpants. Tank top. Fur. Faux fur. Leather. Designer. High street. Online stores. Thrift. Lingerie. Long skirt. Miniskirt. Maxidress. Sun dress. Tie. Tuxedo. Cocktail dress. Highslit dress/skit. T-shirt. Loose clothing. Tight clothing. Jean shorts. Sweater. Sweater vest. Sleeveless shirt. Trench coat. Turtle neck. Khaki pants. Jumpsuit. Poncho. Suit. Hoodie. Harlem pants. Basketball shorts. Boxers. Briefs. Thong. Hotpants. Hipster panties. Bra. Sports bra. Crop top. Corset. Ballerina skirt. Leotard. Gloves. Fingerless Gloves. Polka dot. Stripes. Glitter. Silk. Lace. Velvet. Leather. Chemise. Patterns. Ripped. Florals. Neon colors. Pastels. Black. Dark colors. Tan colors. Uniform. Armor. Costume. Traditional attire. Cape. Mask.

SHOES.

Sneakers. Slip-ons. Flats. Slippers. Sandals. High heels. Kitten heels. Ankle boots.Combat boots. Knee-high. Platforms. Stripper heels. Barefeet. Loafers. Oxfords. Derbys. Gladiator shoes. Cowboy boots. Spats.

#LORE.#[italics are like ??? kinda]#[its all mostly......... wishful thinking]#[he forever just a dirty boi in a jumpsuit lookin squirrely]#[potentially n.sfw? i mean? it says the word 'genital' once]

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fxckingandroids-moved-blog · 7 years ago

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Walk, Walk, Fashion Baby

BOLD what applies to your muse TAGGED: @gardendroid TAGGING: nah

i do nt know which of these to bold for some of them

BODY.

Long legs. Short legs. Average legs. Slender thighs. Toned thighs. Thick thighs. Muscular thighs. Skinny arms. Toned arms. Soft arms. Muscular arms. Toned stomach. Flat stomach. Flabby Stomach. Soft stomach. Six-pack. Beer belly. Lean frame. Beefy/muscular frame. Voluptuous frame. Petite frame. Lanky frame. Short nails. Long nails. Manicured nails. Dirty nails. Flat ass. Toned ass. Bubble butt. Thick ass. Small waist. Thick waist. Narrow hips. Average hips. Wide hips. Big feet. Average feet. Small feet. Soft feet. Slender feet. Calloused hands. Soft hands. Big hands. Average hands. Small hands. Long fingers. Short fingers. Average fingers. Broad shoulder. Narrow shoulder. Underweight. Average weight. Overweight.

HEIGHT ( click here to convert to feet ).

Shorter than 140 cm. 141 cm-150 cm. 151 cm to 160 cm. 161 cm to 172 cm. 173 cm to 180cm. 181 cm to 190 cm. 191 cm to 2m. Taller than 2 m.

SKIN.

Pale. Rosy. Olive. Dark. Tanned. Blotchy. Smooth. Acne. Clear. Dry. Greasy. Soft. Scarred. Stretch marks. Burns easily. Freckled. Wrinkled. Pockmarked.

EYES.

Small. Large. Average. Grey. Brown. Blue. Black. Green. Gold. Hazel. Red / Violet / Pink. Heterochromia. Contacts. Doe-eyed. Almond. Close-set. Wide-set. Expressive. Monolid. Tapered lid. Heavy eyelids. Upturned. Downturned. Glasses. Sunken. Dark circles. Inhuman.

TEETH.

Straight. Crooked. Overbite. Underbite. Braces. Buck teeth. Elongated canines. Sharp. White. Dirty. Stained. Fillings. Chipped. Caps. Spaced. Tooth gap.

HAIR.

Thin. Thick. Fine. Normal. Greasy. Dry. Soft. Shiny. Curly. Frizzy. Wild. Unruly. Straight. Smooth. Wavy. Floppy. Cropped. Pixie-cut. Shoulder length. Back length. Waist length. Buzz cut. Undercut. Bald. A bit below the jaw length. Mohawk. White. Platinum blonde. Orange blonde. Golden blonde. Redhead. Dirty blonde. Blonde. Ombre. Light brown. Mouse brown. Chestnut brown. Chocolate brown. Dark brown. Jet black. Ginger. Auburn. Copper. Dyed any “unnatural color”. Thin eyebrows. Average eyebrows. Thick eyebrows. No eyebrows. Hairy arms. Hairy legs. Hairy chest. Clean shaven.

TATTOOS / PIERCINGS.

COSMETICS.

SCENT.

CLOTHES.

Jeans. Tight pants. Baggy pants. Belt. Belt buckle. Beanies. Hat. Goggles. Ankle socks. Overknee socks. Tights. Leggings. Yoga pants. Pencil skirt. Tight skirt. Loose skirt. Tight/formfitting dress. Cardigans. Blouse. Button up shirt. Band-T-shirt. Sports t-shirt. Sweatpants. Tank top. Fur. Faux fur. Leather. Designer. High street. Online stores. Thrift. Lingerie. Long skirt. Miniskirt. Maxidress. Sun dress. Tie. Tuxedo. Cocktail dress. Highslit dress/skit. T-shirt. Loose clothing. Tight clothing. Jean shorts. Sweater. Sweater vest. Sleeveless shirt. Trench coat. Turtle neck. Khaki pants. Jumpsuit. Poncho. Suit. Hoodie. Harlem pants. Basketball shorts. Boxers. Briefs. Thong. Hotpants. Hipster panties. Bra. Sports bra. Crop top. Corset. Ballerina skirt. Leotard. Gloves. Fingerless Gloves. Polka dot. Stripes. Glitter. Silk. Lace. Velvet. Chemise. Patterns. Ripped. Florals. Neon colors. Pastels. Black. Dark colors. Tan colors. Uniform. Armor. Costume. Traditional attire. Cape. Mask.

SHOES.

Sneakers. Slip-ons. Flats. Slippers. Sandals. High heels. Kitten heels. Ankle boots. Combat boots. Knee-high. Platforms. Stripper heels. Barefeet. Loafers. Oxfords. Derbys. Gladiator shoes. Cowboy boots. Spats.

#me: wtf is 'average' ??-#aaaaaa i'm too stupid for this #dashboard meme #about #headcanon #long post

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wineanddinosaur · 5 years ago

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30 Easy Cocktail Recipes Everyone Should Know

A well-stocked home bar is worthless if you don’t know your way around a jigger, shaker, and bar spoon and can’t remember the difference between a Manhattan and a Martini. Thankfully, with a little practice and a few simple mixers and modifiers, a staple selection of base spirits can be transformed into a world of possibilities.

From White Russians and Moscow Mules to Sidecars and Vieux Carrés, here are 30 easy cocktail recipes anyone can master at home.

Whisk(e)y

Boulevardier

A whiskey-spiked variation of the Negroni, this American cocktail dials up the richness and complexity of its Italian cousin. The cocktail is three equal parts: Campari, sweet vermouth, and bourbon (replacing the Negroni’s gin). Though bourbon is traditional, many bartenders opt for rye in their Boulevardiers.

Manhattan

A well-balanced mix of sweet, spicy, and bitter flavors, the Manhattan combines rye whiskey with sweet vermouth and Angostura bitters. Don’t be tempted to sub in bourbon or any other type of whiskey; the bite of the rye is essential for canceling out the sweetness of the vermouth.

Mint Julep

Now closely associated with the Kentucky Derby, the Mint Julep is a refreshing Southern classic, serving a blend of bourbon, simple syrup, and fresh mint over a mound of crushed ice. Pour into a silver Julep cup to keep it cold on a hot summer day.

Penicillin

Ideal for Scottish whisky lovers, this cocktail contains both blended and peated Scotch. The former is shaken with lemon juice, honey simple syrup, and fresh ginger to form the base of the drink before it’s served on the rocks with a peated whisky float. During the cold winter months, this cocktail can also be served hot.

Old Fashioned

One of the oldest classic cocktails, there are a few schools of thought when preparing Old Fashioneds — particularly surrounding the inclusion of fresh fruit (orange slice) and boozy garnishes (cocktail cherries). In its simplest, and arguably best form, the drink contains a bourbon base, is sweetened with a single sugar cube or simple syrup, and balanced by a generous helping of Angostura bitters. Serve in its eponymous glass with a big ice cube and a lemon or orange twist (or both).

Sazerac

Those seeking historical accuracy may opt for Cognac rather than rye whiskey in their Sazerac, but it is the latter with which this boozy New Orleans classic is now overwhelmingly associated. A splash of simple syrup helps tame the lively, spicy mix of rye and bitters (Peychaud’s, Angostura, or both), all of which is served in an absinthe-rinsed rocks glass with a lemon twist.

Gin

Corpse Reviver #2

The better-known of the two Corpse Reviver cocktails, this drink sees a shaken mix of gin, triple sec, lemon juice, and Lillet Blanc served in a chilled, absinthe-rinsed coupe glass. Its spooky name is a historical term for a hangover cure.

French 75

So named because its alcoholic kick is said to hit with the strength of a French 75-millimeter field gun, this cocktail started doing the rounds at Harry’s New York Bar in Paris in 1915. Simple to prepare, the French 75 tops a base mix of gin, simple syrup, and lemon juice with a generous serving of Champagne.

Gimlet

A refreshing blend of gin, lime, and simple syrup, this drink is believed to have been invented to encourage British Naval officers to consume scurvy-fighting rations of lime juice. Like all drinks containing fresh citrus, the Gimlet is shaken to fully incorporate the ingredients.

Gin & Tonic

Another gin cocktail introduced by the British armed forces for its purported health benefits (the quinine in tonic water was favored to combat malaria), it doesn’t get more simple, classic, or delicious than the Gin & Tonic.

Martini

The most customizable of any classic cocktail, all that’s strictly required in this drink is gin and dry vermouth. The ratio of the two can range from wet (equal parts, a.k.a. 50:50) to exceedingly dry (15:1, also known as the Montgomery ratio). Ingredients can be shaken or stirred — the latter is more traditional — and possible garnishes include a lemon twist, olives, or a cocktail onion, which changes the drink’s name to a Gibson.

Tom Collins

While it famously appeared in “Meet the Parents,” this straightforward preparation of gin, lemon, simple syrup, and club soda dates back to the late 19th century, when it first appeared in Jerry Thomas’s 1876 “Bar-Tender’s Guide.”

Vodka

Bloody Mary

In its most basic form, the Bloody Mary is little more than a glass of vodka-spiked tomato juice. At its most ostentatious, it’s a full meal in a glass, garnished with everything from bacon to fried chicken to hamburgers. Homemade Mary mix is preferred, but store-bought is fine in a pinch.

Cosmopolitan

With its iconic pink hue and close ties to the ‘90s HBO show “Sex and the City,” the Cosmopolitan is a modern classic. Technically speaking, you’ll need lemon-flavored Absolut Citron to make a truly accurate rendition, which also contains triple sec, fresh lime, and cranberry juice.

Espresso Martini

One of two modern classics invented by London-based bartender Dick Bradsell in the 1980s (the other was the Bramble), the Espresso Martini hits with a one-two punch of caffeine and alcohol, before the blow is softened by sweet simple syrup and rich coffee liqueur.

Moscow Mule

Combining vodka, ginger beer, and lime, few drinks are as refreshing or simple to prepare as the Moscow Mule. Whether or not the traditional copper mugs make the drink taste better remains up for debate, but the vessel definitely adds a touch of class to the otherwise understated concoction.

Vodka Martini

Purists may scoff at the Vodka Martini, but this drink is every bit as versatile as its gin counterpart. In fact, vodka’s neutral flavor allows the vermouth to take more of a center stage and lends itself to those who want to drink the mix “dirty” (with olive brine).

White Russian

Popularized by Jeff “The Dude” Lebowski in “The Big Lebowski,” this rich and decadent cocktail combines vodka with half-and-half (or heavy cream), and coffee liqueur. Velvet smooth, the White Russian drinks like a spiked, creamy cold brew.

Rum

Daiquiri

Forget sickly sweet, frozen iterations: A well-balanced Daiquiri is one of the finest classic cocktails one can enjoy. Ideal on a hot day, this shaken cocktail blends white rum, simple syrup, and lime juice, and is served with a basic slice or wedge of lime.

Dark ‘N’ Stormy

The only trademarked cocktail on this list, the Dark ‘N’ Stormy is the rum-based alternative to the Moscow Mule. For a legitimate version of the drink, the vodka should be replaced with Gosling��s Black Seal Dark Rum, though all dark rums, admittedly, yield delicious results.

Mai Tai

A straightforward entry into the complex world of tiki, this drink has an aged rum base mixed with rhum agricole, lime juice, orgeat (almond syrup), and orange Curaçao. For the best results, steer well clear of the blender (and electric blue mixers).

Mojito

Fresh citrus and mint are key to allowing this simple concoction to shine. A favorite of Ernest Hemingway, this Cuban cocktail mixes muddled mint leaves with lime, simple syrup, and white rum.

Piña Colada

The pride of Puerto Rico, the Piña Colada is as easy to make as its name is fun to say. The shaken mix contains equal parts white rum (preferably from its home island), coconut cream, and pineapple juice, served over a glass of crushed ice.

Tequila

Bloody Maria

Offering a spicy addition to the brunch table, this cocktail is one of many worthy riffs on the Bloody Mary, replacing vodka with reposado tequila. Enjoy with a chili-salt rim and as many breakfast quesadillas as you can eat.

Margarita

Officially America’s most popular cocktail, blanco tequila takes center stage in this tart and tangy drink, with the Mexican spirit shaken with just a seasoning of lime juice and triple sec. While frozen, blended renditions abound, less is always more when it comes to making quality Margs.

Paloma

A delicious and refreshing Highball, the Paloma matches the savory, vegetal notes of tequila (blanco or reposado) with bittersweet grapefruit soda. For an elevated serving, opt instead for freshly squeezed juice and club soda.

Tequila Sunrise

Made from tequila, grenadine, and orange juice, combining the ingredients without mixing creates this visually striking drink, which resembles a picturesque sunrise.

Brandy

Brandy Crusta

Calling for a few ingredients from the liquor shelf, this little-known brandy cocktail is a great trump card to have in your cocktail repertoire. The brandy-forward mix is seasoned with Maraschino liqueur, triple sec, lemon, and both Angostura and Peychaud’s bitters. This drink is served in a sugar-rimmed glass and arrives with a long, elegant lemon twist.

Sidecar

Named after the motorcycle attachment and reportedly invented at the Ritz Hotel in Paris, this classic shaken cocktail contains brandy, lemon, and triple sec. Like the Brandy Crusta, the proper serve includes a chilled, sugar-rimmed glass, and a (slightly more modest) lemon twist garnish.

Vieux Carré

Invented in New Orleans in the 1930s, this potent mix contains Cognac, rye whiskey, sweet vermouth, and a bar spoon each of Angostura and Peychaud’s bitters. The boozy combo is stirred over ice and served with a lemon twist.

The article 30 Easy Cocktail Recipes Everyone Should Know appeared first on VinePair.

source https://vinepair.com/articles/30-best-easy-cocktail-recipes/

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johnboothus · 5 years ago

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30 Easy Cocktail Recipes Everyone Should Know

From White Russians and Moscow Mules to Sidecars and Vieux Carrés, here are 30 easy cocktail recipes anyone can master at home.

Whisk(e)y

Boulevardier

Manhattan

Mint Julep

Penicillin

Old Fashioned

Sazerac

Gin

Corpse Reviver #2

French 75

Gimlet

Gin & Tonic

Martini

Tom Collins

Vodka

Bloody Mary

Cosmopolitan

Espresso Martini

Moscow Mule

Vodka Martini

White Russian

Rum

Daiquiri

Dark ‘N’ Stormy

The only trademarked cocktail on this list, the Dark ‘N’ Stormy is the rum-based alternative to the Moscow Mule. For a legitimate version of the drink, the vodka should be replaced with Gosling’s Black Seal Dark Rum, though all dark rums, admittedly, yield delicious results.

Mai Tai

Mojito

Fresh citrus and mint are key to allowing this simple concoction to shine. A favorite of Ernest Hemingway, this Cuban cocktail mixes muddled mint leaves with lime, simple syrup, and white rum.

Piña Colada

Tequila

Bloody Maria

Margarita

Paloma

Tequila Sunrise

Made from tequila, grenadine, and orange juice, combining the ingredients without mixing creates this visually striking drink, which resembles a picturesque sunrise.

Brandy

Brandy Crusta

Sidecar

Vieux Carré

The article 30 Easy Cocktail Recipes Everyone Should Know appeared first on VinePair.

Via https://vinepair.com/articles/30-best-easy-cocktail-recipes/

source https://vinology1.weebly.com/blog/30-easy-cocktail-recipes-everyone-should-know

0 notes

anachef · 6 years ago

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Review: Hollywood Brown Derby Originals in Disney’s Hollywood Studios

Helllllo from Hollywood! Today we are bringing you a super fun review from the Hollywood Brown Derby Lounge in Disney’s Hollywood Studios!

The Hollywood Brown Derby Lounge is the patio off of the signature restaurant, The Hollywood Brown Derby. There aren’t any reservations — seating is on a first-come, first-served basis. While you can order anything off of the Brown Derby menu, the Lounge has its own unique menu of tapas and cocktails. We love the Drink Trios, which allow you to try three mini martinis or margaritas at once!

Brown Derby Lounge Martini Flight

But today, we are taking a bite into three signature dishes. Each item we are reviewing was originally created at the Brown Derby in California — the one that the Hollywood Brown Derby in Walt Disney World was modeled after. We thought this would be a fun way to enjoy an afternoon on the leisurely patio!

Atmosphere

The Hollywood Brown Derby Lounge doesn’t have the black and white caricatures that the full restaurant is known for, but it does have an awesome view for people watching and enjoying the park atmosphere!

Passersby

The seating is a collection of high-tops and circular tables and chairs, complete with welcomed umbrellas. Seating can be a bit crammed during peak-meal times, so we suggest going in between lunch and dinner for a seat and a nosh.

Hollywood Brown Derby Lounge Seating

Upon entering the Hollywood Brown Derby Lounge, you’ll see a full bar. This is great if you can’t score a seat or you’d like to simply walk-up for a drink to go!

Hollywood Brown Derby Lounge Bar

But for food, you’ll need a table. Which we grabbed and got to ordering our three signature dishes!

Eats

As stated before, you can order off the entire Hollywood Brown Derby Menu on the patio, or you can nosh on the tapas sized dishes specifically available at the lounge.

The Hollywood Brown Derby Lounge Menu

Not too long ago, we dug into some of these unique offerings and fell in LOVE in a few items. You can read our review here.

Andouille-Crusted Shrimp

But for today we had that specific mission in mind: enjoying the three iconic Brown Derby originals which include the Cobb Salad, the Shirley Temple, and the Grapefruit Cake.

Cobb Salad, Shirley Temple, Grapefruit Cake

First up, was a refreshing mocktail: The Shirley Temple.

Shirley Temple

Now, according to several articles, the Shirley Temple — ginger ale and grenadine topped with maraschino cherries — may have been invented at Chasen’s, a West Hollywood bar, for then-child-actor Shirley Temple. But Brown Derby also claims the credit for the drink, and Temple herself does quote that the Brown Derby probably popularized the “saccharine sweet, icky drink” that she hates in the mid-1930s.

Shirley Temple

There isn’t anything particularly special about a Shirley Temple at the Hollywood Brown Derby Lounge, as compared to anywhere else, but it is fun to have one where it originated (kinda). Plus, the bartender did put a glow cube in my drink, which is always fun! A Shirley Temple is pretty sweet, but also refreshing, and still a winner with kids (and adults) of all ages. And grown ups — if you want to take it to the next level, ask for a “Dirty Shirley.” Your bartender will splash some vodka or rum into the mix, which will cut the sweetness and make it even more fun.

Next up, the famous Cobb Salad. This was created as a late night snack for Sid Grauman (of Grauman’s Chinese Theater), where Chef Robert Cobb finely chopped and tossed together a bunch of remaining ingredients. And VOILA! It was a hit with Grauman who continued to request it, and eventually it made its way onto the menu.

Cobb Salad

This is an appetizer size of the salad (though the full-size is on the full menu), but it still has all the components. The Brown Derby Cobb Salad is made up of Finely Chopped Greens, Turkey Breast, Bacon, Egg, Tomatoes, Crumbled Blue Cheese, Avocado, Chives and Cobb Dressing.

Hollywood Brown Derby Cobb Salad

All of the produce is nice and fresh, and there’s a perfect balance between the blue cheese, avocado, bacon and other toppings. The dressing is light and adds good flavor, without being too acidic or overwhelming.

Cobb Salad Board

This salad is so delicious — you can certainly tell why it’s famous! It’s even earned its own custom presentation board. Too cute!!

Last but not least, Grapefruit Cake! This was invented for a famous gossip columnist who was on the trendy “grapefruit diet” and requested a dessert that would fit on her diet.

Grapefruit Cake

I’m pretty sure there is nothing healthy about this dessert, considering it’s a Chantilly cake with cream cheese frosting, but it is light and delicious. The Chantilly cake is moist and not overly sweet thanks to the grapefruit, and the frosting has the perfect zest of citrus.

It’s certainly a more unusual dessert than your typical cakes, and we recommend trying it if for no other reason than it’s legendary!

The Hollywood Brown Derby Lounge Dessert Menu

The Grapefruit Cake comes as a choice on the dessert trio menu, so naturally we just HAD to sample two other desserts on our stop. Sometimes life is tough, right?

We selected the Lemon Cheesecake with Blueberries and the Banana Toffee Cake.

Dessert Trio

The Lemon Cheesecake was quite tasty, with the cake itself being moist and not overwhelmingly rich. The blueberry sauce added a nice sweetness that balanced the tartness of the lemon.

Lemon Blueberry Cheesecake

The Banana Toffee Cake was recommended to us by our server, and it was also a hit, flavor wise. Just be warned — it is VERY banana-y so if you don’t care for bananas, this one is not for you. Our only criticism is we wished the toffee cake had a bigger crunch, as the entire dish is basically the same consistency.

Banana Toffee Cake

Overall

As with previous visits, the Hollywood Brown Derby Lounge remains a great place to grab an upscale nosh and cocktail, and spend a few minutes relaxing during a hectic theme park day. We had fun ordering the “Brown Derby Originals,” which proved once again why they’ve been popular choices for the last 80+ years. And we’ve been wow-ed by newer options such as those to-die-for shrimp and cocktail trios.

The food on the patio may be more expensive than your average bar food, but it’s certainly upscale in flavor and atmosphere. This is one of the rare places in a Disney park where you can truly indulge in signature level bites and relax outside, and for that reason, we love the Hollywood Brown Derby Lounge. We will be back! I’m already dreaming of eating that salad again.

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Are you a fan of The Hollywood Brown Derby Lounge? Tell us about your favorite places to relax outside in the World!

Review: Hollywood Brown Derby at Disney’s Hollywood Studios

Review: The Hollywood Brown Derby Lounge

#OnTheList: Margarita and Martini Flights at Disney World’s Hollywood Brown Derby Lounge

from the disney food blog http://bit.ly/2Gjml6M via http://bit.ly/LNvO3e

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pinea-conarium · 8 years ago

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Tagged by @casually-cruel and @heartbeatsandrainstorms

Rules: Answer 20 questions and tag 20 followers you would like to get to know better.

Name: pinea-conarium Nickname: The standard shortening of my given name, as well as my roller derby name. Sharing neither in order to preserve some semi-anonymity. Zodiac Sign: Virgo  Height: 5′2"  Ethnicity: European mutt  Orientation: Gay/Queer  Favourite Fruit(s): Mango. But I love most fruit.  Favourite Season: Fall.  Favourite Book(s): An impossible proposition. My favorite book that I’ve read recently is The Argonauts by Maggie Nelson.  Favourite Flower(s): Ranunculus, lilies of the valley.  Favourite Animal(s): My patronus is a fox. More practically, dogs. I’ve rarely met an animal I don’t like, though.  Favourite Beverage: Like many, I live on coffee. My go-to cocktail varies between a dirty gin martini and a gin gimlet. Average Hours of Sleep: I’m at ODS right now, so, maybe five on a good night.  Favourite Fictional Characters: Dana Scully, forever and always.  Number of Blankets You Sleep with: One or two lightweight ones in the summer, I add a down comforter in the winter.  Dream Trip: Patagonia. Anything involving hiking.  Blog Created: Sometime in 2015.  Number of Followers: 30ish? I’m tagging: If you’d like to participate, consider yourself tagged.

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amorremanet · 8 years ago

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describing my oc’s like a, “tag urself” meme because i felt like it:

Sebastian:

is full of love but also sadness and confusion

too soft to be Chaotic Gay, too chaotic to be Soft Gay

doesn’t get why his morbid, self-deprecating “jokes” aren’t funny

the, “hey hold my beer/coffee” friend but also the, “hey hold me, if i’m alone with my thoughts, i go to a Bad Place™” friend

high-key human disaster but he’s trying his best, okay

looks like a sinnamon roll, is actually a burned cinnamon roll, has literally been to hell and back, slightly charred

Pete:

constantly Dramatic™, perpetually Extra™, fluent in sarcasm and talking shit

Theatre Gay to end all Theatre Gays, he will fight you; acts like a Mean Gay™, but is soft inside and scared of getting hurt

aggressively supportive AND supportively aggressive

acts like he has it all together, but doesn’t think before starting shit

says he doesn’t care, actually does tho

stale cinnamon roll, has been in this world too long, too cynical

Margot:

high-key Judging You™, always Done with everything and three days past her bedtime

stone-hearted ice witch with a citrus-flavored center

Mean Gay™, but hey, she has a set of ethics

hums the mission impossible theme song when she’s working, it makes her feel cool

probably the Vodka Aunt friend

looks like she could kill you, is actually a stale sinnamon roll

Josie:

looks calm, but screaming on the inside

Neutral Goth, Chaotic Bi, Mom Friend™

dresses so nice because they have to be in control of something

their life is like trying to avoid the youtube comments, then seeing them anyway

too beautiful for 90% of the shit they go through

looks like a cinnamon roll (too good for this world), actually is a cinnamon roll; would give you their cinnamon rolls

Lucy:

HEY YOU GUYS LET’S TRY SCIENCE

CHAPSTICK FUTCH BABY LESBIAN SHE’S JUST HAPPY TO BE HERE

NO EDGELORDS ALLOWED, IT’S GOOD TO BE NICE AND EXCITED ABOUT THINGS, LET PEOPLE BE EXCITED, JEEZ.

doesn’t need to use all caps but she has SO!! MUCH!!!! ENTHUSIASM!!!!!!

get her on your team for roller derby or the scavenger hunt. seriously. do it.

looks like a cinnamon roll but could actually kill you (but she’d rather not)

Stephen:

low-key Art Gay™, high-key Soft Gay™, the Dad Jokes Friend

laughs at his own jokes before he says the punchline

single, trying really hard to mingle, he may have misinterpreted?? ………or did he??? was that flirting or did he imagine it, like???? someone please help him??????

drag queen, sister of perpetual indulgence, wants to dance with somebody who loves him

would hum the pink panther theme for extra stealth

looks like he could kill you with his cinnamon rolls… and his tembleque… and his homemade ice cream…… aaaaand………

Sara Grace:

High Femme Ballet Lesbian, high-key Art Gay, Fruity Cocktails Cousin friend

says she speaks fluent cat, mostly just makes, “prrrrrfb” noises at her kitty

doesn’t think it’s pretentious to want to make out in an art museum, fuck you

one time, she won a law and order: svu trivia contest while totally shit-faced

she’s beauty, she’s grace, if she has an issue with you, she’ll bring it right to your busted face

looks like a cinnamon roll, is actually a princess

Todd:

tries too hard, really needs to chill

high-key Hipster Bullshit Gay

that white boy in every philosophy class who thinks he knows what he’s talking about, but doesn’t

bashes all the things he loves for fear of being mainstream

please do not confuse the problematic fave

looks like a cinnamon roll, is actually a low-key sinnamon roll

Conrad:

have u ever met the human version of a headache

don’t call him Hetero Satan, satan did nothing to deserve that

thinks loki is the true hero of the thor movies and the avengers

hey come on, he said, “no offense,” so why are you offended

doesn’t get why, “for the greater good” and, “some animals are more equal than others” are bullshit

garbage. like, really, he’s just………… trash

Adelaide:

Neutral Bi, Lawful Prep, Wine Mom Friend

always ready to DO ALL THE THINGS!!! JUST YOU WAIT.

is everybody’s cool big sister, whether they particularly want her to be or not

snarkmaster 5000 from the planet Done™

but if she keeps her mind active and her body moving at all times, she will avoid falling into a bottomless pit of despair and/or punching someone in the face

looks like a sinnamon roll and actually is a sinnamon roll

Max:

tries too hard, always stressed

the Dad Friend, also a literal dad

how do you interpersonal skills, we just don’t know

my god, does he try

here’s your token hetero character who doesn’t suck, straight people. the rest of them are pretty much garbage.

looks like a jerk, is actually a stale cinnamon roll

Yael:

Low-Key Femme Protest Lesbian, Mama Bear Friend, Badass Grandma, loves her wife so much

Chaotic Gay, Political Angry, actively repels anything even remotely resembling chill

always looks like she’s plotting and/or up to something, but that’s because she usually is

excuse you, children, but she and her wife and so many fallen friends didn’t spend their lives fighting against oppressive systems for you to hate yourself, you are a star and you don’t have to listen any white hetero-capitalist patriarchal pigs who say otherwise, don’t you dare let the bastards get you down for too long, because that is NOT what these fights have been about — yes, she is do re mi fa so done with your shit, but in like, a loving and supportive way

isn’t allowed to chaperone the girl scouts when they go sell cookies at the stop and shop anymore, she got too enthusiastic, people got scared

looks like a sinnamon roll, and probably wouldn’t kill you. ……probably. but you are cordially invited not to test her on this.

Elizabeth:

Soft Butch Library Lesbian, Whisky Grandma Friend

Neutral Gay, Chaotic Prep, calm but terrifying when enraged

has a constant twinkle in her eye, especially while being subtly snarky at people who don’t get it

she’s very sorry for her wife’s lack of chill, but also usually thinks Yael is right, sooooo……… she’ll only rein Yael in if things get really out of hand

isn’t like a regular teacher, she’s a cool teacher, right, kids? gets a rush of excitement whenever she gets an excuse to make a dirty joke while teaching

looks like a cinnamon roll, is actually a sinnamon roll

Julian:

hiiiiiiiiiiiieeeeeee! he’s here to ruin everything!!

high-key Chaotic Neutral Gay, high-key Nihilistic Gay

got a “cease and desist” letter from kesha this one time

is the Tequila Cousin friend

got sick of people hurting him and decided to hurt other people for a change

sinnamon roll that you bought two years ago at a backwoods gas station, then lost on the floor of your car, and now it’s all grody and there’s mildew inside the wrapper and ugh, gross

Annie (Antoinette):

genuinely doesn’t understand how Extra™ she is

feels like the fuck-up twin because she’s always treated like the fuck-up twin

smiles like a stepford daughter, is actually made of rage and sadness

Chaotic Bi, but she’s so deep in the closet that the Narnians are charging her rent

says she’s just happy to be here, but only because her bullshit family made her say that

is exempted from the cinnamon roll meme pending attempts to get her away from her abusers and into therapy

#ocs tag #oc development #mine: writing #sebastian moncrieff: mutant disaster #pete arden: dramatic disaster #margot gabriel: chainsmoking disaster #josie quinn: empath disaster #lucy murphy: hemokinetic disaster #stephen gardener: precious disaster #sara grace kelley #todd burroughs: art film disaster #conrad hennen #adelaide moncrieff: ambitious disaster #maximilien moncrieff #yael lehrer: probably done with your shit #elizabeth woodham #julian richter #antoinette chamberlain #longish post//

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lethargic-hunter · 8 years ago

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FASHION // APPEARANCE STATS !!

BOLD what applies to your muse TAGGED: @jxckspxcer TAGGING: MMMMMMM WHOEVER WANTS TO DO IT.

BODY.

Long legs. Short legs. Average legs. Slender thighs. Toned thighs. Thick thighs. Muscular thighs. Skinny arms. Toned arms. Soft arms. Muscular arms. Toned stomach. Flat stomach. Flabby Stomach. Soft stomach. Six-pack. Beer belly. Lean frame. Beefy/muscular frame. Voluptuous frame. Petite frame. Lanky frame. Short nails. Long nails. Manicured nails. Dirty nails. Flat ass. Toned ass. Bubble butt. Thick ass. Small waist. Thick waist. Narrow hips. Average hips. Wide hips. Big feet. Average feet. Small feet. Soft feet. Slender feet. Calloused hands. Soft hands. Big hands. Average hands. Small hands. Long fingers. Short fingers. Average fingers. Broad shoulder. Narrow shoulder. Underweight. Average weight. Overweight.

HEIGHT ( click here to convert to feet ).

Shorter than 140 cm. 141 cm-150 cm. 151 cm to 160 cm. 161 cm to 172 cm. 173 cm to 180cm. 181 cm to 190 cm. 191 cm to 2m. Taller than 2 m.

SKIN.

Pale. Rosy. Olive. Dark. Tanned. Blotchy. Smooth. Acne. Clear. Dry. Greasy. Soft. Scarred. Stretch marks. Burns easily. Freckled. Wrinkled. Pockmarked.

EYES.

TEETH.

Straight. Crooked. Overbite. Underbite. Braces. Buck teeth. Elongated canines. Sharp. White. Dirty. Stained. Fillings. Chipped. Caps. Spaced. Tooth gap.

HAIR.

Thin. Thick. Fine. Normal. Greasy. Dry. Soft. Shiny. Curly. Frizzy. Wild. Unruly. Straight. Smooth. Wavy. Floppy. Cropped. Pixie-cut. Shoulder length. Back length. Waist length. Buzz cut. Undercut. Bald. A bit below the jaw length. Mohawk. White. Platinum blonde. Orange blonde. Golden blonde. Redhead. Dirty blonde. Blonde. Ombre. Light brown. Mouse brown. Chestnut brown. Chocolate brown. Dark brown. Jet black. Ginger. Auburn. Copper. Dyed red. Dyed any “unnatural color”.Thin eyebrows. Average eyebrows. Thick eyebrows. No eyebrows. Hairy arms. Hairy legs. Hairy chest. Clean shaven.

TATTOOS / PIERCINGS.

COSMETICS.

SCENT.

CLOTHES.

Jeans. Tight pants. Baggy pants. Belt. Belt buckle. Beanies. Hat. Goggles. Ankle socks. Overknee socks. Tights. Leggings. Yoga pants. Pencil skirt. Tight skirt. Loose skirt. Tight/formfitting dress. Cardigans. Blouse. Button up shirt. Band-T-shirt. Sports t-shirt. Sweatpants. Tank top. Fur. Faux fur. Leather. Designer. High street. Online stores. Thrift. Lingerie. Long skirt. Miniskirt. Maxidress. Sun dress. Tie. Tuxedo. Cocktail dress. Highslit dress/skit. T-shirt. Loose clothing. Tight clothing. Jean shorts. Sweater. Sweater vest. Sleeveless shirt. Trench coat. Turtle neck. Khaki pants. Suit. Hoodie. Harlem pants. Basketball shorts. Boxers. Briefs. Thong. Hotpants. Hipster panties. Bra. Sports bra. Crop top. Corset. Ballerina skirt. Leotard. Gloves. Fingerless Gloves. Polka dot. Stripes. Glitter. Silk. Lace. Velvet. Leather. Chemise. Patterns. Ripped. Florals. Neon colors. Pastels. Black. Dark colors. Tan colors. Uniform. Armor. Costume. Traditional attire. Cape. Mask.

SHOES.

Sneakers. Slip-ons. Flats. Slippers. Sandals. High heels. Kitten heels. Ankle boots. Combat boots. Knee-high. Platforms. Stripper heels. Barefeet. Loafers. Oxfords. Derbys. Gladiator shoes. Cowboy boots. Spats.

#[I did this at like 2:30am so I don't even know if I got everything]#[but ye take this]#;about Aiden

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isaiahrippinus · 5 years ago

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30 Easy Cocktail Recipes Everyone Should Know

From White Russians and Moscow Mules to Sidecars and Vieux Carrés, here are 30 easy cocktail recipes anyone can master at home.

Whisk(e)y

Boulevardier

Manhattan

Mint Julep

Penicillin

Old Fashioned

Sazerac

Gin

Corpse Reviver #2

French 75

Gimlet

Gin & Tonic

Martini

Tom Collins

Vodka

Bloody Mary

Cosmopolitan

Espresso Martini

Moscow Mule

Vodka Martini

White Russian

Rum

Daiquiri

Dark ‘N’ Stormy

The only trademarked cocktail on this list, the Dark ‘N’ Stormy is the rum-based alternative to the Moscow Mule. For a legitimate version of the drink, the vodka should be replaced with Gosling’s Black Seal Dark Rum, though all dark rums, admittedly, yield delicious results.

Mai Tai

Mojito

Fresh citrus and mint are key to allowing this simple concoction to shine. A favorite of Ernest Hemingway, this Cuban cocktail mixes muddled mint leaves with lime, simple syrup, and white rum.

Piña Colada

Tequila

Bloody Maria

Margarita

Paloma

Tequila Sunrise

Made from tequila, grenadine, and orange juice, combining the ingredients without mixing creates this visually striking drink, which resembles a picturesque sunrise.

Brandy

Brandy Crusta

Sidecar

Vieux Carré

The article 30 Easy Cocktail Recipes Everyone Should Know appeared first on VinePair.

source https://vinepair.com/articles/30-best-easy-cocktail-recipes/ source https://vinology1.tumblr.com/post/614114218894114816

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