#HE ALSO DIRECTLY DISSES NICKI MINAJ LATER ON??

[nutmegdoggy]

if you guys wanted to see how bad the tom macdonald and ben shapiro rap is but didn't wanna give them a view, here ya go

normally I'm against distributing shit from horrible people even to hatewatch it, but this is just so embarrassingly awful that I think the entertainment value is worth it

[jourdepluie91]

The Nicki Minaj and Megan Thee Stallion feud, explained

By Olivia McCormack and Herb Scribner

Megan Thee Stallion released her biting song “Hiss” on Friday — a punchy diss track that takes aim at the haters and critics she’s encountered throughout her career.

“Hiss” has climbed high up on streaming charts since Friday, Jan. 26, with more than 5 million plays on Spotify, made waves throughout the rap community and ignited a social media firestorm with fans of Minaj, who claim Megan directly insulted her on the track.

[...]

Though no names were mentioned in this song, a number of “Hiss” lyrics appear to reference Minaj, too. One line, fans say, seems pointed at Minaj’s family: “These h--s don’t be mad at Megan, these h--s mad at Megan’s Law.”

“Megan’s Law” could be a reference to a federal law that requires police to share information with the public about convicted and registered sex offenders. It was named after Megan Kanka, a 7-year-old who was raped and killed in 1994 by their neighbor, a convicted child molester. In the wake of Megan Kanka’s death, her family campaigned for a law that would require police to tell communities about sex offenders, noting that they would not have let their daughter cross the street if they had known about their neighbor’s past.

It appears Minaj, and many on social media, believed the diss to be directed at Minaj’s husband Kenneth Petty — a registered sex offender who served four years in prison after he was convicted of attempted rape in 1995 and was put on probation in 2022 for failing to register as a sex offender in California.

Another line — “I can never be judged by a b---- that was dancin’, makin’ R. Kelly go viral” — might be a reference to Minaj, too, since she released a song in 2018 called “Up in Flames,” where she cheekily mentioned R. Kelly with the line, “Even R. Kelly couldn’t touch the kid.”

Representatives for Megan Thee Stallion did not respond to a request for comment about the lyrics and if she was directly referencing Minaj and Petty.

Nicki Minaj responds with ‘Big Foot’ diss songs

With the internet swirling with theories about Megan’s lyrics, Minaj took to X (formerly Twitter) to voice her displeasure with the song and announce her follow-up “Big Foot,” which she released on Monday.

The title appeared to be a reference to Megan’s 5-foot-10 height and the fact that she was shot in the foot by Lanez.

In the song (which was released with an a cappella version on streaming), Minaj claims Megan lied about the shooting incident with Lanez while referencing the death of Megan’s mother, saying: “Swearin’ on your dead mother when you lie” and “F--- you get shot with no scar?”

Minaj also accuses Megan of sleeping with her best friend’s partner and having ghostwriters. She claims Megan lied during her 2022 interview with anchor CBS’s Gayle King. In that interview, Megan said she was worried for her life during the incident with Lanez.

“I never put my hands on anybody,” Megan told King. “I never raised my voice too loud. This was one of them times where it shouldn’t have gotten this crazy.”

King later wrote for Oprah’s website that she believed Megan’s account on the night and she stood by the music artist.

“I’m so fascinated that people still don’t think that she’s telling the truth. How can that be?” King wrote. “You’ve heard all the rumors; please listen to what she has to say and then ask yourself, What does she gain by lying?”

Has Megan responded to Nicki Minaj’s diss track?

Megan has yet to respond directly to “Big Foot,” though she posted a photo on her Instagram Story on Friday of herself laughing after Minaj shared a snippet of the song before it was released.

Representatives for Minaj did not respond to a request for comment.

Minaj says on X that she has five songs ready to release if Megan so much as “breathes” wrong. Minaj is also seeking an apology from Megan for her comments on “Hiss.”

“I don’t think you want the next installment of this song,” she says on “Big Foot.”

Source: Washington Post

[tressasinterlude]

𝐑𝐀𝐍𝐓 #𝟑: Female Public Figures Dating Men with Questionable Views That Contradict Their Image & Alleged Politics

𝗗𝗜𝗦𝗖𝗟𝗔𝗜𝗠𝗘𝗥: These rant blog posts are really just reflective of my thoughts at the time that I make them and are posted here because I need an outlet to release all of this shit I have going on my busy ass mind. That’s it and that’s all. Now let’s get into it..

This rant was greatly inspired by none other than Ms. Robyn Rihanna “Tell Your Faves To Pull Up [in regards to social injustices directly affecting black people]” Fenty and her openly colorist boyfriend, A$AP Rocky. Aside from the fact that Rihanna tends to slip under the radar and is never held accountable for her problematic ways due to her conventional beauty (i.e. Her heavy usage of anti-Asian slurs, particularly targeted towards Chris Brown’s ex gf, Karrueche), it’s very alarming that a woman who has an entire makeup brand with a campaign based around the inclusivity of ALL black women is publicly flaunting a beau who once said that DSBW do not look good with red lipstick.

And yes, I’m very much aware that Rakim said this tasteless comment over 8 years ago but from the looks of it, not much has really changed with him. Don’t @ me about it neither because I don’t care.

Also peep how he compares a hypothetical darkskinned woman to a man (Wesley Snipes) while trying to explain how his antiblackness isn’t wrong because he said something about white women as well. Gaslighting at its finest. Don’t you just love it! 😀

Furthermore, you would think that somebody of Rihanna’s level of stature would know not to associate themselves with someone as messy as A$AP Rocky but... Stupid is what stupid does, I guess! I can’t even begin to place the blame on him anymore because he’s revealed his true colors and we all have made the deliberate choice to either accept it or don’t and have discontinued all support for him. Unfortunately, misogynoir is never the dealbreaker for most people and the hatred for [dark-skinned] black women is so engrained in society that it’s frowned upon when we publicly speak out against it. Very ass backwards if you ask me but that’s society for you. Now, enough about that. Let’s focus back on Ms. Vita La Coco.

As a woman who claims to be a girl’s girl and is always presenting herself to be someone who is the epitome of a pro-black feminist bad ass, it just makes her alleged activism come off so disingenuous when she’s also laying down with the same man that actively attacks the demographic she’s supposed to be standing in solidarity with. It’s “Black Lives Matter” on the IG posts but your vagina is getting moist for a man who openly stated he doesn’t relate to what goes on in Ferguson because he lives in Soho & Beverly Hills. Ferguson being the exact place where a 17-year-old black boy’s lifeless corpse laid on the hot concrete for FOUR hours after he was murdered by a police officer. He couldn’t 'relate' to the fate of so many black men, women, and children who are murdered or seriously injured from state-sanctioned violence because they’re poor and he is not or so he thought.

But then again, what can I really expect from a woman who identified as being “biracial” until as recent as roughly 6 years ago? What can I really expect from a woman who called Rachel Dolezal a ‘hero’ for cosplaying as a black woman? I’d be lying if I said my expectations for her were high in this regard because sis has always shown us she was lacking in this department. And just for the record, this is not a personal attack on Rihanna at all for the die-hard Navy stans in the back. I admire her latest fashions and bop my head to her music just like the next person but she’s getting the side-eye from me on this one.

Trust and believe me though, she’s not the only woman who I can call out for being a hypocrite. Of course not! This stone can be cast at a few others. So without further ado, why don’t we bring Ms. Kehlani Parrish to the front of the congregation? Prior to Kehlani’s recent declaration of identifying as a lesbian, her last public relationship with a man was with YG. Yes, the same YG who felt it was necessary to say him & Nipsey had ‘pretty light-skinned’ daughters to raise in the middle of his deceased friend’s memorial. By the way, Nipsey’s daughter is not even light (or at least not in my book anyways.) She’s a very deep caramel tone just like her father which makes what he said even more moronic. Yes, the same YG who thought it was clever idea to use slavery as an aesthetic for a music video to a diss track about 6ix9ine. And yes, also the same YG who has derogatory lyrics targeted at bisexual women. Just to end up sweating the red carpets with one. I swear the jokes just continue to write themselves.

This raises the question once more; How high of a pedestal can I really put a multiracial woman who has a song titled ‘N*ggas’ and when received backlash for the song in question, she used the ultimate ‘I’m mixed’ copout while not having a visibly black parent in sight?

It’s also kind of suspicious to me that many were not privy to Kehlani’s secret romance with Victoria Monét (pictured bottom right) until Victoria did an interview with Gay Times revealing she fell in love with a girl but they subsequently broke up because Victoria had a boyfriend and that girl was pregnant in a polyamorous relationship. Fans began to speculate because both Victoria & Kehlani previously candidly spoke about their sexual orientations, Kehlani had just had Adeya and they both were seemingly close. Their short-lived fling would later be confirmed when Victoria released the song ‘Touch Me’ on her last project and Kehlani hopped on the remix. Meanwhile, Kehlani’s relationship with Shaina (pictured bottom left) was very overt and all over her Instagram feed from my recollection. And as you can see, Shaina looks absolutely nothing like Victoria. They look like the complete opposite of eachother in every aspect which is kind of alarming(?) to say the least because why is it that the women she proudly claims as her partners tend to have a very racially ambiguous look such as herself but her ‘sneaky links’ on the other hand are undoubtedly black women? Again, it could just be me jumping conclusions. You know, I’m kinda good for that however something tells me I’m not. Y’all be the judge of the material though.

Last but not least, I’d like to touch on Ms. Raven Tracy very briefly. I was very weary about even including in this segment and if I should just put her in a entirely separate blog post with other women who openly date abusers despite their checkered past (alongside Nicki Minaj & her r*pist murderer of a husband, India Love & Sheck Wes etc.) being this particular blog post was based around the theme of lightskinned/mixed women dating men with extremely problematic views about DSBW. Raven obviously isn’t lightskinned or mixed however I refused to ignore how contradictory her [former] relationship with an alleged (I used this word very loosely and mainly for legality purposes.) serial r*pist while promoting a brand that is all about feminism & body positivity. This also traces back to A$AP Rocky by default being that Ian Connor is his very close friend and he came to Connor’s defense when several women came forward detailing accounts of Connor allegedly s*xually assaulting them. (I wish I could place the actual video of what A$AP Rocky said verbatim but Tumblr only allows one video per blog post. 🙄)

Back in June of this year, Ian & Raven had a back & forth on Twitter after Ian tweeted about Raven “fucking everybody” behind his back. I can only assume that he was alluding to Tori Brixx posting a video of her ex, Rich the Kid & Raven kissing on her story. Disgusted is not even the word to describe my feeling when she admitted she stuck by Ian despite of his many allegations of s*xual abuse because she loved him and her being a empath causes her to want to help everybody. Imagine aiding and abetting a predator and even paying for his bail & legal fees just to turn around and expect sympathy because this same individual cheated on you and exploited you all over Twitter for the public to see. The same man that you would get back with not even a WEEK after the fact & turn off your IG comments because it isn’t our “business” after making it our business...

That being said, I just genuinely want to know: Why do these women completely go against what they stand for in regards to these men? Maybe it was never genuine from jump street and if that’s the case, why jump on the bandwagon of performative activism? Is it because it’s profitable right now? Is it because disrespecting black women is not an immediate death sentence to your careers and more often than not actually helps you advance even further? I guess that’s the billion dollar question that’ll never truly be answered. I just want the world to stop using black women as their stepping stool to get to where they need to go and then discarding of us when we’re no longer beneficial. Support us all the way or don’t support us at all. We deal with enough disrespect as is so we’d appreciate if y’all would stop straddling the fence and partake in your misogynoir out loud if that’s what you choose to do. We have no use for fake allyship and quite frankly, it’s doing more harm for us than good. Please and thank you!

Sincerely,

- 𝙼𝙸𝚂𝚂 𝙴𝙳𝙶𝙰𝚁 𝙰𝙻𝙻𝙴𝙽 𝙷𝙾𝙴. 💋

[jonathantaylorthomas]

Diary entries, as a rule, don’t constitute art. Songs do.

That’s what drew me in to Taylor Swift and her music upon the release of her 2006 debut album, “Taylor Swift,” and that’s what has kept me closely tracking the remarkable arc of her career since then, up to and including today’s release of her sixth album, “Reputation.”

From the beginning, Swift — then a precocious, uncommonly smart, gifted and ambitious teenager — has written deeply personal songs that often sound like they’re ripped directly from the pages of a diary.

That hallmark of her songwriting has nurtured an especially close bond between Swift and her fans, along with her savvy use of social media from the outset. It’s also given her detractors no shortage of ammunition with which to attack her for everything from a new hairdo to her choices of dates to the logistics of selling tickets to her concerts.

The double-edged sword of success — and the fame and fortune that have accompanied it to stratospheric levels for her — inform many of the songs on “Reputation,” possibly the most anticipated album of the always-intensive fall season.

As one of a small handful of music writers offered an early listen to the new collection, I’ll venture to call it her most focused, most cohesive album yet.

In large part that reflects her dramatic narrowing of collaborators compared with her previous two outings: Nine of the 15 new songs written and produced for the most part by Swift with superstar producers Max Martin and Shellback, the other six in tandem with indie rock band Fun front man Jack Antonoff.

They conjure a sense of foreboding to illuminate her songs of betrayal, heartbreak and disappointment. There also are plenty of bright spots celebrating new love and new maturity in her outlook, most framed in dance-floor-conscious beats and employing inventive sonic textures that expand on or outright defy conventions of contemporary pop-R&B music production.

I’d also say that in many ways “Reputation” echoes one of Bob Dylan’s greatest lines of the last two decades: “I used to care…but things have changed.”

'Reputation' echoes one of Bob Dylan’s greatest lines of the last two decades: 'I used to care…but things have changed.' — -- Randy Lewis I say that based on many hours I’ve spent with her since first traveling to Nashville to interview her early in 2007, not long after her debut album put her on the map in country music circles.

Case in point: “Reputation” is the first album for which she’s given no interviews in advance. (I had sat down with her for extended talks about each of her previous four albums, “1989,” “Red,” “Speak Now” and “Fearless.”)

Additionally, only a small handful of music critics were invited to hear this album in advance (The Times’ pop music critic Mikael Wood was not).

She did once again hold several playback sessions for fans in recent months, as she did when “1989” was being readied for release three years ago. But no reporters were allowed to look in on those as a few did for “1989.”

Things have changed, indeed.

What struck me initially about Swift’s music was the refreshing viewpoint she brought to her songs, which sounded, for a change, like what real teenagers might think, feel and say.

That was a big part of what prompted me to single her out at the end of 2006 as one of the artists most worth watching in the year ahead, and to travel to Nashville a few months later to interview her about her ambitions.

So many other young pop and country acts spent most of their time attempting to pass themselves off as preternaturally mature, often singing of experiences well beyond their years.

That initially sparked my respect for her as a young artist—not just a pretty face and perky personality who’d been handed a batch of songs written by others and instructed by her handlers on what to say, how to dress and where to stand.

Clearly that resonated with a lot of listeners as well, and launched her on a meteoric rise: first in country music, and then to her place today as arguably the biggest pop star on the planet.

Along the way she has held tight to the innate understanding of social media platforms she expressed to me in 2008, shortly before her sophomore album, “Fearless,” was released.

“Blogging has been really fun because I like to let people into my life as much as possible,” she said back when MySpace was still the dominant social media outlet for most musicians, well before Twitter, Facebook and Instagram and, her new favorite outlet, Tumblr, took over. "I think it's important for the people who keep you going and support you and have your back out there in the world to know that you're thinking of them all the time.”

She quickly learned, however, that it’s not a big leap from having someone’s back to stabbing it, a harsh reality Swift has faced through intensely public Twitter feuds in recent years with Katy Perry, Nicki Minaj, Kanye West and Kim Kardashian, among others.

Twitter, Instagram, Facebook and other social media platforms magnify vulnerability and hypersensitivity with snarky comments and images, making adolescence and young adulthood seem more perilous than ever.

She acknowledged the vipers in the room directly on her third album, “Speak Now,” with “Mean,” a song in which she transformed one blogger’s nasty comments about her into a hit song. That’s one tool with which she’s avoided the “Don’t get mad; get even” path of revenge, instead drawing illumination and creative inspiration out of the many barbs tossed her way.

Yet the more famous she’s become, and the more followers she’s cultivated, the more the world at large apparently feels entitled to pass judgment not only on her art but on her life, topics she takes on in several of the new songs on “Reputation.”

That’s a fact of contemporary life Swift recognizes in “This Is Why We Can’t Have Nice Things.” In fact, it may well become an anthem for the Twitter generation, for whom every fleeting thought seems worthy of sharing with the world at large: “Did you think I wouldn’t hear all the things you said about me? And here’s to you… ‘cause forgiveness is a nice thing to do/ (laughter) I can’t even say it with straight face!”

I’ll go as far as to suggest that the whole “Reputation” theme of the album isn’t solely about Taylor Swift and her place in the world, but examines the extent to which most of us now live out our lives in public thanks to the omnipresence of social media, and the multiplicity of ways that plays out.

Indeed, in each of two elaborate 72-page magazines she has created for an exclusive deluxe edition of the album (available in the U.S. at Target stores), she includes an open letter noting, “This is the first generation that will be able to look back on their entire life story documented in pictures on the internet, and together we will all discover the after-effects of that.”

Another facet of Swift’s career that’s impressed me is the way she has respected her place as a role model for young women in general, and other female musicians in particular.

Among the many ways that’s manifested are her personal donation of $500,000 to disaster relief efforts when Nashville, and much of Tennessee, was flooded in 2010 — before she reached her 21st birthday. She ponied up an additional $1 million last year for flood victims in Louisiana after launching her “1989” tour there.

She wielded her industry clout to politely but firmly chastise Apple for initially placing some of the financial burden of a free trial period for its new streaming service in 2015 on songwriters with a plan that would have withheld their royalty payments — an idea the tech giant abandoned in response to her open letter.

Even when she briefly succumbed to the temptation to respond to a perceived diss from Nicki Minaj over yet another VMA Awards show in 2015, Swift quickly apologized and held out an olive branch rather than continuing to ratchet up a war of tweets.

As recently as August, she turned the tables on a lawsuit filed against her by a Denver radio host who claimed he was unfairly dismissed from his job after she complained that he had groped her during a post-concert meet-and-greet. She filed a countersuit in which she asked for, and won, a token $1 jury award after she took to the witness stand to speak out not only in her own defense, but on behalf of other sexual harassment victims.

Yet bloggers galore still seem determined to take her down for any number of issues, lately many of them revolving around the way she has set the stage for today’s release of “Reputation.”

A plan to create an incentive that would give priority for buying concert tickets to fans who most enthusiastically click away to watch her latest videos or place advance orders for the album was blasted as exploitative.

She’s also come under fire for not being vocal enough about alt-right demonstrators who have attempted to co-opt her music into endorsements of their positions, reminiscent of Charles Manson’s bizarre misinterpretation nearly 50 years ago of the Beatles’ “Helter Skelter,” which he insisted was a coded message to him to start a race war.

Then there was the much publicized dissing of her last year from Kanye West in his song “Famous” in which he rapped that she owed him sex because he made her famous by snatching the spotlight from her at the infamous MTV Video Music Awards in 2009 — despite the fact she had scored multiple hit singles and sold millions of albums well before that incident.

She kept a relatively low profile last year when West and his wife, Kim Kardashian, spoke and tweeted ad infinitum that she had given him her consent about the way he portrayed her in “Famous,” offering only a terse denial that that had been the case.

When she released “Look What You Made Me Do” as the leadoff single from “Reputation,” she took flak in many quarters for a perceived belated response and for keeping a feud going long past its natural shelf life.

But based on how I’ve watched her process other life events, what I hear in the song is a woman who recognizes the hurt an ugly life situation has thrust upon her, and who owns the consequences of how it that has played out for her, emotionally and psychologically.

“I don’t trust nobody and nobody trusts me,” is how the sadder-but-wiser Swift portrays herself in this scenario. “Look What You Made Me Do” isn’t an exercise in the blame game; it’s an acknowledgment of loss over defenses one has been forced to erect out of self-preservation.

In a broader sense, the payoff I’m after in “Reputation” has nothing to do with any shade she’s throwing at West and Kardashian, or whether in other songs she’s leaving any clues on her breakups with Tom Hiddleston or Calvin Harris.

Many eyes, of course, also will be focused on whether “Reputation” extends her streak of albums that have sold more than 1 million copies in the first week. She’s the only artist to do so with three consecutive releases.

The only thing that matters in the long run is how she’s evolving as a songwriter, a singer and a record producer.

Will anyone care in 10, 20 or 50 years — heck, in five, even — who the “him” is in “Getaway Car,” when she confesses, “I wanted to leave him / I needed a reason”? What’s much more likely to stand the test of time is the whip-smart form the song’s expression of romantic betrayal delivers: “It was the best of times / The worst of crimes / The ties were black / the lies were white / In shades of gray and candlelight.”

Her commitment to growth as an artist is something I sensed more than a decade ago, when we first met in the bunker-like basement of her then-fledgling record company, Big Machine.

And it’s still why I fully expect to be as interested at what Swift writes at 37 and 47 as what she’s delivered at 27. In my book, that’s the only reputation that matters.

[decoding1432]

“It’s patriarchy”

I’ll be making lots of comparisons throughout the post in order to illustrate better my point. Lauren said it: “It’s rampant sexism”. On the media, on the GP’s perception, on the production process, on the industry in general.

Let’s start with some basics....

BB released an article back in early 2015 where it was described Why Can't Modern Girl Groups Land a Radio Hit? These modern GG more like 5H & LM. In this written piece there are several statements that undoubtedly caught my attention. Starting with the last paragraph:

When I asked Biddle why he thinks One Direction enjoy more stateside success than girl groups, he echoed Wiegenstein's sentiment. "I don't know 100 percent. I guess it's because those boys are 'cute'? It could be as simple as that."

How sad it is that we exist in the midst of 21st century & still there are people that prefer “pretty faces & looks” over talent– btw this comment is not triggered to 1D in the slightest, I have nothing but respect for them– I just mean this in a very generalised form.

It’s not secret that a girlband has to work 10x harder to get a quarter of the recognition a boyband gets.

Similarly, a girl group isn't as easy to promote as a boy band. "In terms of teen magazines, the idea of marketing different members of boy bands is easier," says Anna Louise Wiegenstein, a former pop culture instructor (and Little Mix fan), who's giving a talk on One Direction fan culture at the National Pop Culture Association/American Culture Association Conference in April. "There's the 'funny one,' the 'mysterious one' -- it's easy to make quizzes and profile pieces around them."

When marketing a girl group to teenage girls, Wiegenstein continues, it's harder to tap into those teenage hormones. "When you're talking about a group of girls, they target the brands around personalities," she says. "It's more like, 'Which one would be your friend?' And there's less of a fantasy aspect to that."

Leaving aside the marketing strategy (which is true, bc how many times we have seen someone in the fandom say “I’m more like Lauren” or “Dinah & I would get along” etc.), I want to focus in the use of “teenage hormones”. Hormonal is always associated to the female self. Which leads me to jump into the media field:

Here a contrast on how media reported 5H x Camila vs. 1D x Zayn

Informing about the “We don’t talk to our ex-bandmates anymore” moment.

In contrast to Camila’s report, Zayn’s one has got this “scattering element”, if I can call it like that. The “chunky girls�� & “Gigi Hadid” features helped to divert the viewer’s attention from the main point. Just look at the comments section from the two videos & the difference is pretty self explanatory….

Sadly the more problematic the situation evolves around the girls, the better. For boys, the situation is showcased in a much lighter form even if the conflict is tighter over there.

We know that in both cases narratives are recycled. However on this side the girls haven’t threw shade thus far, unfortunately media portraits the whole in an almost unforgivable way. For the record there was not really much to report. It’s only about the time Lauren posted the “fake that confidence bih” tweet, only to later explain it was to herself.  Still that was not going to stop them from pulling a video to attract a handful of viewers. The segment starts by quoting the title, which by the way ensures grabbing the spectator’s attention: “Did Lauren Jauregui diss Camila Cabello AGAIN After Grammy After-Party?”

*in my most sarcastic tone* You guys, apparently L shaded C more than once & we didn’t know… I grew three grey hairs with that headline itself.  Right after including Lauren’s tweet to the assumed shade, the only thing they added on the coverage script was a simple “preach girl” 😒😒

Whereas in the 1D side Zayn did throw shade (several times), a public fight on Twitter unleashed & the reporter’s remarks sound nothing like in the 5H coverage. The feud is a lot less magnified. “Ugh! Put the weapons down boys!”. Hell, Clever made sure to shut down the rumours that Zayn had unfollowed the entire band. Note how they even show what happen to be “receipts” while the host says “I’ve put some of my best creeping skills to the test & found out he has not yet unfollowed them so there’s that bit of kinda sorta good news for you & in hope that this won’t ruin their friendship for good.” We can also add how in a poor attempt of diminishing the climax they brought the dolls into the scene. Seriously, I’d love to see them doing something like this when addressing the girls’ drama *sighs* only in my wildest dreams.

Why does media scandalises more the girlgroup’s party than the boyband’s one?

I’ve said this before, but I don’t mind repeating it. Hollywood has used the stigma that “women can’t get along while working” for so long. Plus the infamous stereotypes of our incredible rational society that a girl is constantly hormonal, temperamental & always has to be involved in any sort of catfight with someone from the same gender. There has to be a “bitch” in the story without exception. Inside the entertainment industry, they love taking advantage of this cliché. Not said by me, but coming directly from a very renowned actress…

Jessica Chastain talks sexism in the industry

If the video loads for you, I highly recommend that you watch it. It’s such a short article, nevertheless I’ll be attaching some extracts below:

There was a great myth that I grew up with that women don’t work well together,” Jessica Chastain tells Vanity Fair.

Back when she was promoting The Help in 2011, Chastain explains, “so many of the questions I was getting from the press was about fighting on set—’Was it tough to be on set with all those girls?’ I wasn’t getting those questions with any of the other movies that I’d been involved with.” 

Out of joke, I lost count of all the times I’ve heard this same question with 5H.

Fun fact that I found randomly: Reminder that only 3% of the decision-making in media is made by women. Which means that 97% of how women are portrayed is decided by men.

Always pitting women against each other is what our generation does best nowadays. Clearly mgmt & the label have used this with the fandom. The creation of “-izers” are a great example of this. As well this standard is ultimately what impulses the narrative on a daily basis. Stans went from loving & defending the group with their lives, to only caring about their faves. I know some fans still keep up with each girl & love them all. I have faith in those stans. If you’re one of them, don’t fall for that mischievous game, thank you.

DON’T BE NAIVE, KIDS.

P.S. I leave you the link to others sexist scenarios in the industry. Worth checking each out.

This Is The Kind Of Bullsh*t You Face As A Woman In The Music Industry

99% of women working in the film and TV industries have experienced sexism

I’ve heard, for example, that if a male director is being picky, people say he has a strong vision. With a woman, people will say she is being difficult. It’s also common to assume that kindness is a sign of weakness.

7 Anecdotes From Female Artists Show How Deep Sexism Runs in the Music Industry

"Women in the industry are judged more," Nicki Minaj told Time back in February. "If you speak up for yourself, you're a bitch. If you party too much, you're a whore. Men don't get called these things."

Grimes Says Male Producers Threatened to Not Finish Her Songs if She Didn't Have Sex

Grimes is no stranger to being open about the misogyny and sexism she and other females face in the industry.

Grimes fielded one fan's question, who asked why the topic seems like such a "regular thing" for her to tweet and speak about if she finds it so annoying. Grimes explained it only seems that because of the way the press fixates on it.