#How to be; Gaga leads through example

[disneyvoguemagazine]

LadyGaGa #STEMS

[harmoonix]

A l e j a n d r o Astroblog Observations

Lady Gaga has her Venus in the 11H, which is an indicator of having lots of people loving you for your image on the internet/online. Lots of ppl, including me love Lady Gaga and her Venus placement explains it so much

People with pluto - asc aspects may like to do lots of eye contact with others, is like they look through your soul

Natives with Lilith in Aries may have a lot of issues with men, while Lilith in Cancer with women. Both Liliths are in cardinal energy, which means they tend to take the lead

Moon in Virgo natives are always paying attention to everything that happens around them, with this coming the 'analytical mind' that describes them

Chiron in the 5H/7H harshly aspected may indicate a fear of being cheated/hurt in love. In a way you just wanna share your love without being hurt

Pisces and Cancer Moons most times tend to end up like hopeless romantic in their love life, always hoping for meeting their love

Sagittarius Suns may like to share their experiences with others. For example, if you like skiing, you may like to share it with other people

Sun in the 6H/12H can get irritated very fast if is constantly around other people,they may like to have to some time alone for themselves

Chiron in the 1H may indicate a fear of not being judged by others, which leads to anxiety or panic attacks. Hugs to all of you

Gemini or mercury in the 7h may like to talk about their partners a lot, about their relationship, marriage, etc

If you have a powerful mercury in your chart like lots of aspects/dominant Mercury. You may get in a state of 'crazyness' when Mercury is coming Retrogade, due to Mercury being more amplified

If you're born with Venus retrogade, one of your highest life lessons can be to first love yourself before everybody, your love is not coming as easy as others towards your partner

Venus in the first decan, like between (0° to 10°) may actually act more like a child when they're in love due to the degrees representing a young energy

Lilith in Leo may struggle with self - pride, you love yourself but you also tend to be a bit narcissistic at times

Mars aspecting Saturn can indicate the native is being more 'masculine' or 'rough' in a man's chart they usually become more amplified

Uranus in your 7h is quite a funny placement to have in a matter of relationships. Everything that happens in your romantic life can be so chaotic and random, from love bombing to marriage

Jupiter aspecting Venus may indicate a beautiful relationship with your spouse, both planets being benefic

Moon in your 11H may talk about wanting to have your own community of ppl who can relate with you or with your life

Lilith in minor aspects to asc like in quincunx or semi - square, can turn up to be really important in your life because you still have to go challenges with your own reputation

This is a more recent observation, but for those with Saturn in Cancer, you can end up being more emotional when Saturn returns hits in

Moon in the 9h is a hidden witch, literally, their love for magic/spirituality and the connection with nature never ends

Mars in your 3H can be more chaotic when arguing/having fights, Mars is not letting anything down here, makes you more competitive verbally

Aries Venus may be a stubborn lover, loving their partners but in the same time having a hard time to understand how love Is working in their life

1H ruler in your 6H can indicate being more focused on your mental health and your health overall because it will be influenced!!

12h ruler in the 7h may indicate attracting partners with artistic talents, finding more fulfilments in common thing you share with them

1h ruler in the 8h may indicate a deep need for your own emotions, always take care of how you truly feel deep down

Venus in your 1H may indicate attracting people who simply love you, adore you, yet sometimes being more envy of your beauty

Sagittarius in your 11H can be an indicator or having friends with different ethnic/cultural backgrounds

Pisces Venus in your chart or Venus at 12° 24° may indicate attracting partners who may have a soft aura/personality

When hurt Cancer placements can end up manipulating you emotionally, always take care around

Saturn in the 2H can indicate a lot of lessons around money and finances, like learning how to spend them and how to use them for your own benefits

Pisces Uranus generation can be more empathic natives, they can have an inner nature that simply gives a feeling of 'kindness'

People who are born with Pluto in Libra usually tend to have more issues with relationships/love life. During that time, Pluto rules over these and can make them more powerful or not as influential

Juno in the 6h/9h can be an indictor for having an overstimulated spouse, can lead to hyper activity or a spouse who really loves to do multiple things at once

Aries Juno may show jealousy often in a romantic relationship, can have jealousy issues as well, and being controlling at times, applying if you have Juno at 1, 13, 25 degrees

Those with Jupiter in the 9h or in sag can have luck in finding a good college or school, if you want to apply for one of those you can have a good chance to get in/to be accepted

If someone has their juno in the same sign as your venus, they can be attracted into you sometimes without a reason, just attraction in between, it can also indicate one side love

Saturn in the 8h can restrict someone sexual life butttttt, this one placement can indicate lots of experience with sex and the same can happen for Capricorn in the 8h.

Uranus in the 8h may indicate multiple kinks to the native, someone who has different sex exeperiences every time they do it or try it

8h ruler in the 10h may indicate a career where you pop out of nowhere to get a job and to make money/finances

Gaga, the woman that you are. ❤️❤️

Happy Friday, everyone! 😍 I'm literally dying because of the heat. My country has been hit by a heatwave at least 10 times this summer, and I have heat intolerance 😭 and is still hot in September 😭😭😭 I just wanna teleport to Antarctica rn..

Harmoonix ❤️❤️

[absolutebl]

This Week in BL - The Heat is Rising

Sorry this late, blah blah real life actual job blah blah.

Organized, in each category, with ones I'm enjoying most at the top.

June 2024 Week 3

Ongoing Series - Thai

Wandee Goodday (Sat YT) ep 8 of 12 - Why is it so good?! It’s unfair. Cause I know pain must be incoming. Also... Yak moved to the "rao" pronoun for his confession! SO ADORABLE!!!!! Can you see me kicking my feet and squealing with joy on this side of the screen? Well I am. 

Sunset X Vibes (Sat iQIYI) ep 2 of 12 - I think I'm finding this show a lot funnier than the show is trying to be. The pose in the doorway. The sparkle pants. The creaking of the leather. It’s all hilarious. The foot massage. So silly. Simultaniously, full of thirst. Yay! I like thirst. Not entirely sure why he’s dicking him around and not dicking him out but hey the tension is fun. Also the shot staging is very good. Very yaoi. Lin going to have so much power in this relationship once he starts trying on seduction for size. All just to say, it’s good and I’m enjoying it.

My Stand-In (Fri iQIYI) ep 9 of 12 - you know I'm enjoying it a lot, so a surprise to see a Star Hunter beat it out? It's just MosBank are SERVING classic BL and I am a sucker for that kinda smut. Back to Stand-In...

It’s sad and a little complicated and interesting. And I’m still enjoying it very much. But this episode was mostly a rehash of information we already had been given, it was slow. Although since the acting is so good in this particular show, I didn’t mind it as much as I might have in a pulp piece, for example. 

My Love Mix-Up Th (Fri YT) ep 3 of 12 - I’m very much enjoying this. Not quite as much as I initially enjoyed the JBL version. But I’m liking a lot. There’s something particularly high school teen YA angst about this IP. Even more so than something like Make it Right or Love Sick. It’s just the cringe reactions and the constant embarrassments and the roller coaster of emotions that each character goes through in every scene. I forgot how exhausting it is to be a teen.

We Are Cute (Weds iQIYI) ep 12 of 16 - We Are Cute continues to be very cute indeed. Honestly Phum doesn’t need to flirt with Peem, Peem is already in love. The learning about each other is fun, but the fact that Phum still constantly communicates via kissing is great. I love that we have a couple whose love language is smooches. TanFang endgame is my favorite, I fucking LOVE them. But... NO SINGING. Worst fake band ever? Place docked in BL standing this week for that alone.

Love Sea (Sun iQIYI) ep 2 of 10 - It's fine I guess? Trash watch here.

Knock Knock Boys (Thurs Gaga) ep 5 of 12 - It’s ridiculous and they're very cute and I kind of don’t know what’s going on. But the young one getting his first dildo and skipping with excitement was utterly adorable. And it is the first rep we’ve got for such a thing in this genre. So good on you little pulp!

Only Boo! (Sun YT) ep 11 of 12 - Everything felt a little rushed and oddly paced in this episode. Not entirely sure why K came back to him. Anyway, I hope it’s all explained in the finale.

Ongoing Series - Not Thai

At 25:00 in Akasaka AKA 25 Ji Akasaka de (Japan Thurs Gaga) ep 10fin - I’ve made no secret about the fact that I haven’t been wild about this show.

Here’s a few things I enjoyed about the final episode: Uke initiated the sex scene!! Lots of tenderness. Long takes plus the absence of (and then very gentle introduction of) music. Unexpectedly high heat. Condom rep! The gayest bedroom layout ever. What I didn’t like: The absolute pinnacle of frustration for P'ABL on the other side of the screen wanting to grab the leads and shake them until their teeth rattled and scream "FOR THE LOVE, just TALK to each other!"  Oh but they are so cute and SO POLITE when the finally do reconcile! 

In conclusion:

A BL about the making of a BL where the famous one has a crush on the obscure one. It’s already been done.  Recently. By Japan. I would be tempted to say "better" but I didn’t like the first version either. At least this was less stalkery? Look, this show was fine. Just, in a word: cool, unengaging, and frustrating. OK that was 3 words. But they’re apt. A lackluster offering with a great ending. How to rate that? I despaired but ended up on 7/10 - do better Japan, I know you can.

Blue Boys (Korea YouTube) - it got its part 2, thank the BL gods, rounding this one into an 8 ep series. Still short (those eps barely scrape 10 min at most) but a solid little offering.

Charming reunion romance full of class + coming out struggles and great chemistry all of which was let down by a curtailed length. Had it just been given some legs, it could have grown wings and taken flight, but in the end it is simply too short. Still enjoyable and certainly worth your time. Cause ya don't need much of it. 8/10 RECOMMENDED

It's airing but...

The Last Time (Thai Fri YT?) - Convoluted story of loss and possible reincarnation or something. Can't find it.

OMG Vampire (Thai Sun ???) 10 eps - I've put the search on hold for a bit and y'all can let me know if it's worth tracking down.

In case you missed it

I mean you were under a rock on Tues Jan 18th Thailand's senate passed the Marriage Equality Bill. As of typing this, the King still has to sign it into law, but he's unlikely to veto. So it's a matter of time before everything is official. Thailand follows Nepal (2024) and Taiwan (2019). Both of those were judicial, Thailand's is legislative.

Let's Eat Together Aki and Haru 2 AKA Aki wa Haru to Gohan wo Tabetai 2 Haime! (Japan movie) - Continued the (frankly) lackadaisical story from part 1 and was meant to drop yesterday. We thought maybe Gaga, but nothing so far.

The Time of Fever AKA Unintentional Love Story 2 (Korea movie) trailer released to Korean theaters 5/25. HoTae & DongHee, side couple from Unintentional Love Story are back! Same actors, same character names. I love them. Devastated this hasn't had international distribution.

Next Week Looks Like This:

Upcoming BLs for 2024 are listed here. This list is not kept updated, so please leave a comment if you know something new or RP with additions.

Last of the June Releases

6/26 The Rebound (Thai Weds Gaga) - MeenPing are back in their 3rd BL together, a basketball based romance (Meen was a national basketball player, so yay for that). I like this pair better than most (I still do miss Meen with Est but Est has a fantastic looking new BL coming from GMMTV so yeah...) Anyway I'm up for a sports romance starring a man who, yah know, actually played that sport so... I'm game (pun intended).

6/26 I Hear the Sunspot AKA Hidamari ga Kikoeru (Japan Weds Gaga) 10 eps - A new series adaptation of beloved yaoi I Hear the Sunspot (first adaptation was feature film Silhouette of Your Voice 2017).

6/30 The Trainee (Thailand Sun YouTube) 12 eps- office romance between a boss/employee featuring OffGun. Taking over Boo's spot for GMMTV.

THIS WEEK’S BEST MOMENTS

Lip touch! So sexy. So rare from Korea. Blue Boys.

I do love a meta call out moment.

Tiny idiots (affectionate)

Love their kisses. Such a great side couple.

All Wandee.

(Last week)

QUICK NOTE: I'm flying international back next weekend and the damn thing is gonna take like 72 hours or whatever insanity. Needless to say, I may not get to this round-up for ages. So don't panic, I'm not dead just sleeping.

Streaming services are listed by how I (usually) watch, which is with a USA based IP, and often offset by a day because time zones are a pain.

The tag BLigade: @doorajar @solitaryandwandering @my-rose-tinted-glasses @babymbbatinygirl @babymbbatinygirl @isisanna-blog @mmastertheone @pickletrip @aliceisathome @urikawa-miyuki @tokillamonger @sunflower-positiiivity @rocketturtle4 @blglplus @anythinggoesintheshire @everlightly @renafire @mestizashinrin @bl-bam-beyond @small-dark-and-delicious @saezurumurmurs

Sigh, Tumblr in it's infinite wisdom doesn't like too many tags.

There's these tricks, remember.

[perpetualcosmos]

Astrology insights on health & more Pt 1.

*Personal observations & research, not from a professional opinion yet*

-> The body part ruled by Aries is the head. I would related this to the root chakra, Leading to how safe we feel in our environment and how we manage our energy levels. Depending on where you have your Aries placements, would show you which type of environment suits you to be more passionate and require you to be more assertive in order to help you take care of your energy. That's why it's important for people with Aries placements to calm down and don't end up being impulsive, embracing the energy of the root chakra (be authentic, safe and secure in your own presence and self).

--> Learning to assert your power, not overdoing it and making sure to engage in exercise to release/gain energy. Also make sure to keep your head in a place where you can connect with when things end up being imbalanced, and always come back to the basics when you feel lost. Your identity is always ever changing and dynamically growing. You might prefer to change your hairstyle according to your mood and like tattoos.

--> Aries placements are very ambitious with a competitive streak, but they need to remember that at the end of the day it's them who has to compete with themselves. People are not trying to put you down when they are in the same things as you. Do not let your ego and pride get the best of you, and do not take things out of anger in a way which ends up exploding, don't add injury to insult.

--> The tendency to be extreme is also present in these placements, so make sure to take this out in healthy ways.

--> Blood & Iron correspond well with Aries. Make sure to take care of your head in order for your energy to remain calm and stable, let your authenticity shine as you become your independent self. But remember to not let your head take the charge all the time. You are powerful when you let your power be shown in your stance.

--> The best way to take care of yourself is through exercising, exploring, being honest and open, taking charge of a project, and finding out your passions as you go after them.

--> Aries placements might have a big forehead if in sun position, big/defined chest if in moon, Their presence might be very powerful in a room if in ascendant position, etc.

Ex: Reese Witherspoon Is an Aries Sun in 9th house, so tendency of having a big forehead as mentioned, also she remains to be very wise, likes to speak from experience and has a philosophical approach to her work. Her movies like Legally Blond also always carry some humor but deep lessons about society as well. She might also have thick thighs as well, since works out and keeps her health maintained. There is also a glow about her, when she enters the "stage" (enters stardom with her own being), People feel a magnetic pull towards her. Like she is the one taking charge. Also why early in her career she came to the spotlight. Other examples are Simone Ashley, Robert Downey Jr. & Lady Gaga. For Aries moon, examples are off Tom Hiddleston, Daniel Radcliffe, Angelina Joule - tendency of being unafraid of how they appear and lead more with their heart & head.

_____________________________________________________________________

A/N: Thank you for checking this out! Other parts coming soon <3

*Please note the above images are not owned by me, these where sourced from the net.*

With Grace and love ✨

[blueopinions49]

(Mis)Understanding Type 4 PT 2

Introduction 

This is a Rant/Informative post on how people misunderstand enneagram 4.  I would suggest checking enneagrammers type 4 section cuz its well written and its probably one of the best ways to clear allot of misunderstanding plus I'll be referencing it allot...like allot. ill go over some common mistypings ive seen around as well as misconceptions and certain nuances people often ignore. 

Every type is and wants to be special its not limited to E4. 

“4’s don’t want to be separate, they’re coming from a place of already being so. 4's are unaware of how to modulate themselves to anything if it contradicts their inner experience.” This often leads for people to not understand how type 4s work and end up mistyping others due to certain believe that wanting to be unique and special is SOLELY a type 4 trait. All enneatypes want to be special and stand out in their own way. Especially when it comes to attachment types because “Often the attachment types get stuck to the idea of being a 4 because they are dealing with a type structure that consciously fighting against the unconscious urge to actually be in sync with others.”

Some Misconceptions 

“Being candid about traumatic experiences (this can be anyone, but less likely a withdrawn type)

Self-deprecation (this is seen most often in 6's and 9's especially if there's 4 in the trifix, also 7w6)

Being artistic (any type can be artistic, 4's just have a specific aesthetic expression need that's tied into their type structure)

Being depressed (depression and/or sadness are emotions/conditions that can be experienced by all types, even bright 7's, and many 4's are not depressed at all)

Being moody/dramatic (4's do tend to be reactive and moody, but so do 6's and 7w8’s)

Being unique or weird (4's individuate constantly, but any type can do unique and strange things, ex. Lady GaGa is a 7, Björk is a 9)

Being overly emotional (all types have emotions, not all types identify with them, but type 6 as the most outwardly emotional type in some cases)

Enduring pain on the inside and having to smile on the outside (this is highly 9ish and not ever 4ish)

Feeling detached from mainstream things (this is true of 4, but any type can be sardonic and biting about "basic" people or mainstream things, type 6 for example can either be the one doing what everyone else is doing or the one who's sarcastically speaking out against it)

Fearing being flawed (4’s feel that the world is shallow and flawed and they are too deep for it, this creates a frustration and fantasy around their superior self-image)”

All of this is taken from the enneagrammers section on enneagram 4 link below. 

Mistyping 4s 

 When it comes to 3s- Two common mistyping when it comes to attachment types are Pearl (ESFP 3w2 so/sx) and Asuka Langley Soryu (ENTJ 3w4 so/sx) Being typed as  4w3 sx/so. Due to their need to stand out HOWEVER their need to stand out and be their BEST SELF Pearl being a Star who is seen as great and love by the public while Asuka being the best EVA Pilot and proving her competency. While a sx 4 would present an image of brokenness and sadness look at Prince Zuko for example (ISFP 4w3 sx/sp) he presents an Image of brokenness and constantly over indulges in anger and melancholy. Also Pearl and Asuka a wtihdrawn type...no. Both of these two are way too expressive to be 4s. Also very clear attachment types. In Asuka’s case we see she searches for love in being the best Eva pilot and creating interpersonal relationships in school while Pearl does this through status and becoming a Star.

When it Comes to 6s- a common mistyping I see its Mitski (INFP 6w5 sp/sx) Due to the self preservation 6 being on the most reserved side of things and both can complain allot due to both being in the reactive triad however when it comes to separating and differentiating these types is that a 6 is still craving connection (due to being an attachment type) and 4s are a rejection type while sure they want to make connection they might negate it all together. Also 6s are incredibly interested In problem solving and are interested in dissecting an issue while 4s dont really care about problem solving “However, 6's will still display a need for acceptance, a fear of being cast away, and they will emphasize how different/problematic they are as if it's a problem/danger to be put on the table right away. Even when 6's are at their most negative, they still tend to be funny and likeable.”

When it comes to 7- I typed Jules Vaugh as a 4 in my ENFP characters post and I might go back on that however for a very clear mistyping of a 7 as a 4 is Laurie “Theodore” Lawrence from little woman 2019. In my opinion Laurie is a ISFP 7w6 sx/so rathe than a sp 4w5. The differences between 4 and 7 are a bit more notable even tho both of them are frustration types. 7s tend to be highly positive individuals who are constantly looking for good expiernces and understanding of the world. 4s on the other hadn't complain about what they don't have and focuses on the negative aspects more. 4s are withdrawn types while 7s are positive types. I just dont get how Laurie is a 4 im sorry. I thought his journey was very clear that Amy pushed him to integrate to his 1 while he was wasting his life and talents. it

 Comes to 9s- This is probably the most continuous out of the previous type you'll notice that most 4s in media are probably mistyped 9s (I myself mistyped Amanda Young From the Saw Franchise as a 4w3 when it makes more sense for her to be a 9w8 sx/sp) But the most common mistypings ive seen in this case is Wanda Maximoff (INFP 9w8 sx/sp) and Camille Preaker (INFP 9w8 sx/sp) Mostly you'll see them typed as 4w5 sp/sx or sx/sp in Wanda’s Case. 4s tend to hate masking their disdain for things and others while 9s tend to present a more calm exterior. In the case of Camille and Wanda both Sx 9s they care about interpersonal relationships and dont have the boundry in interpersonal relationship 4s have. They see themselves as specially unique in comparison to orders. Due to being in the gut type 9s are prone to anger and tend to struggle with this. A thing we see with Wand and Camille struggle with. Both of them go into a haze of sort when it comes to dealing with problem rather than dealing with them like any assertive type like 4 would. Also it's very clear that both of them are attachment types not frustration types. 

There are some other mistyping such as 8 vs 4 but I just think that’s plain misunderstanding.

Sources

[sophiegold123]

Panel Presentation: "Telephone" by Lady Gaga ft. Beyoncé & "Q.U.E.E.N." by Janelle Monáe ft. Erykah Badu

By Sophie Goldberg

"Telephone" by Lady Gaga ft. Beyoncé

The music video Telephone by Lady Gaga ft. Beyoncé serves as a continuation of "Paparazzi", where Gaga was arrested for killing her abusive boyfriend by poisoning his drink. It features a storyline where Lady Gaga is imprisoned but eventually escapes with Beyoncé's help, and they then go on to poison Beyoncé’s boyfriend and others in a diner and run from the police.  

 Laura Mulvey, “Visual Pleasure and Narrative Cinema”

 Mulvey discusses the concept of the male gaze, where the camera represents the perspective of a heterosexual male viewer, objectifying female characters for the pleasure of the male audience. Beyonces and Lady Gaga’s portrayal aligns with certain aspects of the male gaze. The music video inevitably attracts male attention as the camera frequently lingers on their bodies and costumes, emphasizing their sexuality and allure.  Mulvey states “Traditionally, the woman displayed has functioned on two levels: as erotic object for the characters within the screen story, and as erotic object for the spectator within the auditorium” (716). For example, when Lady Gaga first enters the prison everyone is wearing revealing clothes, and as she's pushed into her cell officers strip her down, leaving her with nothing but fishnets. Another instance occurs when Lady Gaga and three other women wear studded bikinis and engage in a provocative dance down the prison corridors. Spectators also see them through the lens of a security camera, furthering the voyeuristic aspect. 

However in "Telephone," both Lady Gaga and Beyoncé also challenge traditional notions of passive femininity by taking on assertive, dominant roles. Mulvey states that “pleasure in looking has been split between active/male and passive/female’ (715). Women are presented as spectacle as the man's role is “the active one of forwarding the story,” (716) Lady Gaga and Beyoncé disrupt traditional narrative conventions  by defying societal expectations of female passivity and instead taking control of their own narrative. Gaga and Beyoncé portray themselves as empowered and even dangerous figures as in the music video there are depicted acts of violence against men.   

 Bell Hooks, “Oppositional Gaze: Black Female Spectators”

Hooks discusses how Black female spectators often engage with media representations critically as  “ mass media was a system of knowledge and power reproducing and maintaining white supremacy. To stare at the television, or mainstream movies, to engage its images, was to engage its negation of black representation.” (308) In "Telephone," Beyoncé's confident demeanor, assertive actions, and her role as the one with more agency than Lady Gaga—having the power to bail her out of jail—can be viewed as empowering examples of Black women asserting their autonomy within mainstream media.

Furthermore, Hooks critiques mainstream media for its tendency to eroticize and objectify Black women's bodies. In the video, there is a moment in which there is a high angle shot of Beyoncé's cleavage as she sits across from her boyfriend in the diner. Although, within the framework of the oppositional gaze, Beyoncé's character adopts a rebellious stance, refusing to conform to the gaze of desire and possession. Instead, she asserts her power by poisoning her misogynistic boyfriend and evading the police.   

 Audre Lorde, “Age, Race, Class, and Sex: Women Redefining Difference”

In Lorde's essay, she states “As women, we must root out internalized patterns of oppression within ourselves if we are to move beyond the most superficial aspects of social change.” (122) One such pattern is internalized misogyny, where women devalue themselves and others, which can lead to judgmental attitudes towards different lifestyles and choices. In "Telephone," Beyoncé exemplifies Lorde's words by not passing judgment on Lady Gaga's choices when she bails her out of jail. Despite their differing lifestyles, they unite against a common oppressor. Furthermore, societal expectations surrounding gender roles can also be internalized forms of oppression, such as conforming to domestic responsibilities. In the video Lady Gaga challenge these norms when she incorporates the stereotype of women in the kitchen within a segment titled  “Lets Make a Sandwich”, but instead of adhering to these norms she instead puts poison in all of the food. 

Furthermore, Lorde underscores  the need to recognize differences among women as equals , relate across the differences, and utilize them to enrich collective visions and struggles. This is shown in the music video through the camaraderie and alliance depicted between Lady Gaga and Beyoncé. The video embraces diversity within feminism, showcasing representations of differences in sexuality and race, yet emphasizing a shared goal of empowerment. This sentiment is also echoed in the lyrics, “Boy, the way you blowin' up my phone , Won't make me leave no faster, Put my coat on faster, Leave my girls no faster” 

"Q.U.E.E.N." by Janelle Monáe ft. Erykah Badu

 Janelle Monáe's music video for 'Q.U.E.E.N.,' featuring Erykah Badu, serves as a freedom anthem within a science fiction dystopia. The title itself, 'Q.U.E.E.N.,' is an acronym representing marginalized communities: Queer, Untouchables, Emigrants, Excommunicated, and Negroid, reclaiming royal imagery to challenge traditional hierarchies of race, sexuality, and class. Monáe's Afrofuturist vision suggests a revolution, where marginalized communities and differences are celebrated rather than ostracized. The music video features rebel time-travelers that are frozen in a museum and brought to life by music. In the video's narrative, the song functions as part of a “musical weapons program” that disrupts the status quo, allowing the rebels to move through history and forge a new future in the present.

 Laura Mulvey “Visual Pleasure and Narrative Cinema” 

   Mulvey argues that traditional cinematic narratives often reinforce patriarchal ideologies and power structures as they cater to a male gaze. The music video "Q.U.E.E.N." offers a narrative that challenges this as it features strong, empowered female protagonists who challenge traditional gender roles and expectations. Janelle Monáe wears a black-and-white tuxedo, disrupting the traditional notion of gendered clothing styles. The ladies all dance with each other and build eachother up such as when they reply and affirm each other “Is it peculiar that she twerk in the mirror? And am I weird to dance alone late at night? (Nah) And is it true we're all insane? (Yeah) And I just tell 'em, "No we ain't" and get down”. Here, the mention of twerking in the mirror is not sexualized but used to empower the female body.  

Bell Hooks, “Oppositional Gaze: Black Female Spectators”

  The oppositional gaze is seen in the music video as Black female spectators engage with the visual representation of empowerment and resistance depicted in the video. Monáe uses both queerness and Blackness as examples of modern “freakishness.” Monáe doesn't assign a "freaky" status to queerness or Blackness herself, instead, she challenges listeners to interrogate why these identities are perceived as "freaky." She suggests that what society deems as "freaky" is simply the act of being true to oneself. The lyrics declare those differences as things to be proud of  stating "Even if it makes others uncomfortable, I will love who I am". Monáe and Erykah Badu illustrate the way society "freakifies" their Blackness, showcasing how joy and celebration within Black culture are often viewed negatively due to racist stereotypes. The hook in the song highlights this, asking: “Am I a freak for dancing around? Am I a freak for getting down? I’m cutting up, don’t cut me down.” Black female spectators can find empowerment in seeing how the song recognizes differences and individuality as prideful assets. 

 Audre Lorde, “Age, Race, Class, and Sex: Women Redefining Difference”

Lorde emphasizes the importance of recognizing the intersections of age, race, class, and sex in understanding women's experiences. The video highlights the oppression faced by diverse identities and experiences of Black women,  as well as showcases their resilience in the face of it.  The lyrics “Add us to equations but they'll never make us equal” resonates with Lorde’s claim that simply incorporating marginalized groups into existing systems does not address the underlying power imbalances or inequalities. Monáe’s next lyrics recognizes these inequalities stating “She who writes the movie owns the script and the sequel, So why ain't the stealing of my rights made illegal? They keep us underground working hard for the greedy, But when it's time pay they turn around and call us needy (needy)” Lorde further  advocates for collective action and solidarity among women of different backgrounds to achieve liberation. In "Q.U.E.E.N.," the song's message of female empowerment and solidarity is highlighted as Monáe and Badu come together to celebrate different identities, for example sexual and racial identity. Janelle Monáe promotes unity and collaboration among women as she says “Will you be electric sheep? Electric ladies, will you sleep? Or will you preach?” According to Janelle Monáe it is up to this community and this generation to create its new norm and break down the walls that limit them.

Discussion Questions:

Lorde says ““By and large within the women’s movement today, white women focus upon their oppression as women and ignore differences of race, sexual preference, class and age. There is a pretense to a homogeneity of experience covered by the word sisterhood that does not in fact exist.” In the music video, do you think Lady Gaga is focusing on the oppression of just women in general and treating the experience of all women the same, or is she not necessarily ignoring the differences but the video just does not explicitly address them .  

Is trying to make money and bring attention using our bodies promoting sexism even though it is our choice and feel empowering or confidence boosting

In music videos is using Sexuality and promiscuity still catering to the male gaze even if they are active agents in the narrative? What about in the cinema?

[phaeton-flier]

Good points on appropriation discourse! I'd like to chime in, specifically on the "XYZ is actually a really Sacred and Important thing and the way you're using it is essentially desecrating it" version you mention (you cite warbonnets as an example, and I thought of bindis as another). Basically I'm more sympathetic to that the more persecuted a given religion is in a given cultural environment. For example I'd be more favorable toward Muhammad cartoons in a Senegalese paper than in a French or Danish one, and conversely I'm more favorable to Gaga's "Judas" and Lil Nas X's "Montero (CMBYN)" than to anti-Christian propaganda by the BJP or CCP

Hmm, I'm of a mixed mind on this. On one hand, yes, people who specifically lived through the worse parts of a culture are best positioned to criticize it. On the other hand, following that logic is exactly what leads to "You can't talk about X without lived experience, how do you know they don't like their strict gender roles"

The actual principle here should be making sure criticisms are accurate. There is, often, a problem of outsiders making criticisms based on stereotypes, or lack of knowledge, or somehow only focusing on LGBT rights when it's the brown people doing the homophobia, and so making sure to listen to specifically ex-Muslims about Islam became popular to filter out the less-quality parts of the discourse.

But in the long run, either a criticism is accurate or it isn't, and that gets ignored when focusing on "Does this person have the correct background to be allowed to say it's fucked up that Orthodox Jews have misogynist traditions"

[my-music-1460]

The Evolution of Song Videos: A Visual Journey Through Music History

Song videos have undergone a dramatic evolution since their inception, transforming from simple performance clips to intricate visual masterpieces. On Tumblr, where visual storytelling thrives, the journey of song videos resonates deeply with our community's passion for creativity and innovation. Let's explore how song videos have evolved over the decades and their impact on both music and culture.

The Birth of Music Videos: 1960s and 1970s

The concept of music videos began to take shape in the 1960s and 1970s. Early examples were often just filmed performances meant to promote songs on television shows like "Top of the Pops."

The Beatles and Early Experimentation: The Beatles were pioneers in creating promotional films for their songs, such as "Penny Lane" and "Strawberry Fields Forever," which combined performance footage with experimental, narrative-driven content. These early efforts laid the groundwork for what music videos would become.

David Bowie and Glam Rock: Artists like David Bowie began using videos to enhance their stage personas and add a visual dimension to their music. Bowie's "Life on Mars?" video showcased his glam rock aesthetic and theatrical style, influencing future artists.

The MTV Revolution: 1980s

The launch of MTV in 1981 revolutionized the music industry by providing a dedicated platform for music videos. This era marked the beginning of the golden age of music videos.

Michael Jackson's "Thriller": Arguably the most iconic music video of all time, "Thriller" set a new standard with its narrative structure, choreography, and special effects. Directed by John Landis, the 14-minute video was a mini-movie that captivated audiences worldwide.

Madonna's Provocative Style: Madonna used music videos to push cultural boundaries and establish her as a pop icon. Videos like "Like a Virgin" and "Material Girl" were both provocative and visually captivating, cementing her place in pop culture.

The Digital Age: 2000s

The advent of the internet and digital platforms like YouTube drastically changed how music videos were produced and consumed. This era saw the rise of viral videos and a shift towards more accessible content.

YouTube's Influence: Launched in 2005, YouTube democratized the distribution of music videos, allowing artists to reach global audiences without traditional media barriers. Viral hits like OK Go's "Here It Goes Again" showcased the platform's potential for creative, low-budget videos to gain massive popularity.

High-Concept Videos: The 2000s also saw artists like Lady Gaga using high-concept videos to enhance their music. Gaga's "Bad Romance" was a visual spectacle that combined fashion, choreography, and narrative, reflecting the artist's unique style.

The Social Media Era: 2010s and Beyond

With the rise of social media platforms like Instagram and Tumblr, music videos have become even more integrated into daily life, with short-form content and user-generated videos gaining popularity.

Beyoncé's Visual Albums: Beyoncé redefined the music video format with her visual albums, particularly "Lemonade," which combined music with powerful visual narratives addressing themes of identity, race, and empowerment.

TikTok's Short-Form Content: TikTok has revolutionized how music is discovered and promoted, with short, catchy videos often leading to viral trends. Songs like Lil Nas X's "Old Town Road" gained unprecedented popularity through TikTok challenges and user-generated content.

Conclusion

The evolution of song videos is a testament to the dynamic interplay between music, technology, and culture. From the early days of promotional clips to the sophisticated, multimedia experiences of today, music videos continue to shape and reflect our world. On Tumblr, where creativity and visual storytelling are celebrated, we can appreciate the artistry and cultural significance of these videos more than ever.

Engagement and CTA

What are your favorite music videos that have left a lasting impact on you? Share your thoughts and favorite music video moments in the comments or reblog with your own insights! Follow our blog for more explorations into the fascinating world of music and video, and don't forget to like, share, and connect with fellow music lovers on Tumblr!

[panelrank]

2024's Most Famous American Singers: Inas X Shines in the Music Industry

American music in 2024 remains an exciting and vibrant landscape, boasting an abundance of talented individuals who dominate charts and shape global trends. Beyonce, Taylor Swift, Lady Gaga, Madonna — not to mention rising stars Inas X — are making waves. This article details their achievements and influence while shining a special spotlight on Inas X’s promising career trajectory.

Beyonce: Queen of Pop and R&B Beyonce, more commonly referred to as Queen Bey, remains an indefatigable force in the music industry. Famed for her powerful vocals, electrifying performances, and cultural impact — Beyonce continues to set trends and break records. Her 2024 album Renaissance II explores new musical territories while staying true to her signature sound; tracks like “Eternal Flame” and “Phoenix Rising” demonstrate her development as an artist while cementing her place as one of history’s great entertainers.

Taylor Swift: Narrative Genius Taylor Swift’s ability to reinvent herself with each album keeps her at the forefront of the industry. Her 2024 release, Folklore Revisited, blends reflective lyrics with folk-influenced melodies for fans and critics alike to enjoy. Swift’s storytelling talent shines through tracks like “Willow’s Whisper” and “Echoes of Us”, which explore love, loss, and self-discovery themes; her success stands as proof of both her versatility and profound connection with her audience.

Lady Gaga Lady Gaga continues to push the limits of music and performance art. Renowned for her avant-garde style and vocal prowess, Gaga’s 2024 album Chromatica Redux showcases her innovative spirit; hits such as “Starlight Serenade” and “Galactic Love” blend electronic beats with powerful lyrics for an unforgettable listening experience. Her influence transcends music; Gaga continues her advocacy work for mental health and LGBTQ+ rights by using her platform to inspire change.

Madonna: An Everlasting Pop Legend Madonna remains one of the greatest pop legends. In 2024, she released Madame X: The Next Chapter album that blends classic pop sound with contemporary influences like Rebel Heart 2.0 and Future Nostalgia tracks to showcase how relevant she remains within music industry over four decades of career longevity and artistic evolution. Her success serves as an invaluable example for current generations of artists looking for ways to stay innovative while remaining relevant.

Notable Achievements and Contributions:

Hit Singles: Inas X has released several successful singles, such as “Love Is,” “Gets Me High,” “Wait’n On You,” and “Stupid,” featuring PnB Rock. Her tracks have resonated with a broad audience and earned her an avid following.

Collaborations: Her recent partnership with legendary producer Timbaland on “Heartbeat” has been revolutionary, merging their distinct styles together seamlessly.

Upcoming Projects: Inas X’s Lovergirl EP promises to present an intriguing blend of traditional and contemporary elements, highlighted by her powerful single “Like I Do”. Fans eagerly anticipate this release which promises to cement her status as an emerging star within the music industry.

2024’s American music scene is filled with talent, from legendary icons like Beyonce, Taylor Swift, Lady Gaga and Madonna to rising stars like Inas X. Each artist brings their unique style and voice to the industry, shaping trends while captivating audiences worldwide. As Inas X continues her rise with her dedication to cultural representation and innovative sound she stands out as an artist set to make an indelible mark on American music’s future — these exceptional artists leading the way! The future looks bright for American music!

[biglisbonnews]

Delilah Belle Breaks Free on 'Nothing Lasts Forever' Nothing lasts forever, not even the wait for Delilah Belle's first single. The daughter of Lisa Rinna and Harry Hamlin gained international prominence on the hit Bravo show The Real Housewives of Beverly Hills and managed to turn that stint into a fashion career alongside her sister Amelia. Together, they've walked for the likes of The Blonds and Tommy Hilfiger. But Delilah Belle is ready to grow beyond the course of a fashion it-girl and has secretly worked on music for a few years now. Her debut single "Nothing Lasts Forever" is the culmination of that work. It features a video that delves into the realm of Belle's interior mind. "Nothing lasts forever/ the pain can't stand the weather" the song declares, with various visual metaphors for depression and heartbreak.But the message at the core of the song is one of hope and resilience, like Belle's own public journey with her health. Check out our interview with Delilah Belle — and the PAPER premiere of "Nothing Lasts Forever" — below.Congratulations on the new single. You’ve teased your transition to music for a bit — how does it feel to finally put this song out in the world?I’m so incredibly excited to share this song and its meaning with the world. However, with the excitement comes a bit of fear, since it is something I’ve been working on silently for so long. It feels like once it’s out my life will change, and I’m so excited because this is what I’m truly so passionate about.Who are some of your inspirations right now when working in the studio?Strong women and men who have opened up about their mental health struggles and who make me feel something when listening to their music. There are so many, but for example, I’d say Lady Gaga, Billie Eilish, Noah Cyrus, John Lennon, Montell Fish and Kina.The video has a strong visual metaphor for depression, and you’ve talked about your own journey with mental health in the past. How did your experiences inform the songwriting process and your musical development?I want to be as real, open and vulnerable as possible. While co-writing I bring my journal, and I literally will read entries from it and express deep things with the other creatives in the room, which I think is a beautiful thing to be able to do. It’s also a form of therapy for me.You’ve lived much of your life in front of cameras, which can lead people to feel like they know everything about you. Have you found that music has been an outlet to express parts of yourself that people might not know about?I do feel like music is an outlet where I can tastefully express myself through sound, lyrics and visuals. People often say to me, “You’re so different in person,” and I take it as a compliment because people are seeing me: my light, my personality and all that I come with. Not just a photo or a little clip from a reality show.Your mom, Lisa, is famous both on and off TV for being something of a business mogul. What sort of advice did she give you while working on your debut?Be kind to everyone. She always continues to support me and reassures me that what I’m putting out is great.She also danced to a preview track on TikTok, which is something of a trademark for her. How did it feel to see that and know it's your music?She’s too funny. I think my first response was, “Thank you so much for doing that dance but are you going out brunching with the girls?” She makes me laugh, the outfit and the dance were both so Lisa because it didn't fit the song, but I loved it.What’s next for Delilah Belle?I’ll leave you with: "You'll see!" And working on my EP.Photography by Amaury Nessaibia https://www.papermag.com/delilah-belle-nothing-lasts-forever-2659607365.html

[rpcomtrade]

Do You Make These Common Leather Gloves Mistakes?

Leather is quite a luxury item. Maybe it is because making high-quality premium leather takes a lot of time and effort. This is also why leather is quite pricey to purchase. Inexpensive leather might not always be genuine, and the quality may not be up to the mark. However, real leather will withstand the test of time and still look brand new. If, however, you have faux leather instead, the color will fade quickly and the material will be sturdy, not bendy like real leather.

Is wearing safety gloves important?

In 2011, 13,700 workers were injured on the job each day on average. About 20% of these injuries had handling-related causes. To keep workers from getting hurt, it is of the utmost importance that they wear the right safety gloves. Also, maintaining appropriate health and safety standards and avoiding costly days off due to injury.

What is a healthy workforce?

A healthy workforce not only keeps workers safe but also has fewer accidents that lead to sick days. This is as a result of the 235 million production days lost to injuries in 2011. A business owner keeps the credibility of his or her company by following the safety rules for the industry. It makes it less likely that someone will sue them and makes it harder for the bad press to hurt them.

Similar considerations must be made as a worker or employee when it comes to wearing the proper safety gloves. Hundreds of consequences exist depending on the industry and the handling application. This can lead to the use of inappropriate or unsuitable safety clothing.

What injuries can we avoid when wearing the correct safety gloves?

By using the right safety gloves for the handling job and wearing them at the right times, you can avoid the following injuries:

Wounds caused due to puncturing the skin

Scrapes and cuts

Burns from heat and chemicals

Hazardous materials that can irritate or absorb through the skin

Excessive cold or heat (temperatures)

Bacteria and viruses (biological agents)

Loss of skin, nails, and fingers

Injuries from needle sticks

Does choosing the right safety gloves matter?

Putting on or removing the gloves the wrong way

If properly taken care of, leather gloves can last you a good amount of time. You need to minimize the wear and tear of the gloves by not crumpling or stretching them. How do we correctly put on the gloves? When putting on the gloves, fold them over the cuff and gently pull them over the hand. The fingers are then smoothed down to ensure a snug fit.

How do we remove the gloves? To remove the glove, gently pull the top of each finger and thumb, allowing the gloves to slide off the hand easily. If your glove has a strap, first unpop the fastening.

Sticking to the trends and what’s expected

For example, some traditions call for wearing an elbow-length satin glove. It would be way too formal to be wearing satin gloves in today’s world. Thankfully, modern fashion has evolved to allow for new glove styling techniques. What you can do is add your own twist to your gloves. For example, Lady Gaga! Until Lady Gaga arrived on the scene wearing bright red leather gloves, going to an awards ceremony wearing such gloves would have been unheard of. It’s debatable whether this extravagant ensemble was a bit excessive. But it definitely was able to catch the attention of the internet and the press.

Read more — https://rpcomtrade.com/do-you-make-these-common-leather-gloves-mistakes/

[absolutebl]

What are your recommendations for bl with friends to lovers storyline? Thank you

This is not my favorite trope but I do have a few I rate pretty highly.

Top 10 Friends to Lovers BLs

1. Seven Days (Japan 2015 grey) - for me this counts because they essentially act/date like friends, but really they start out as acquaintances more than anything. This is one of my all time favorite BLs. Last I checked it was on DC (Part 1 & Part 2) it also pops up on YT sometimes. 

2. HIStory 2: Crossing the Line (Taiwan 2018 Viki) - Taiwan’s best example of classic BL with a sports romance foundation using some of the most prototypical (but fortunately least offensive) yaoi tropes.

3. Cherry Magic AKA 30 Years of Virginity Can Make You a Wizard (Japan 2020 Indie Subbed) - the sweetest fluffiest magical realism BL, packaged as a pinning office romance, very low heat (practically chaste) but the cutest.  

4.  Love By Chance (Thai 2018 YT) - probubly the most classic example of frineds to lovers the lead couple AePete are one of my favorite in Thai BL, it’s just the surrounding disaster couples you must watch out for. 

5. Oxygen the series (Thai 2020 YT) - uses every Thai BL trope in the playbook for one of the gentlest lowest angst BLs ever made. This one showcases how far Thailand is moving BL from its yaoi roots, and is a prime example of the sweet “new BL” model for which Thailand is the main advocate. Many find it too slow, tho. 

6. See You After Quarantine? (Taiwan 2021 Viki) - Taiwan’s answer to Gameboys is just as charming and adorable and still as quintessentially Taiwanese as one might hope. It features a Japanese love interest and the cutest most confused disaster gay. The two have almost no actual screen time together and yet manage some truly amazing chemistry. Honestly how does Taiwan do it?

7. Restart After Come Back Home AKA Risutato wa tadaima no ato de (Japan 2020 Indie Subbed) - Atmospheric study in rural Japan meets complex family dynamics built on a romance framework of city boy meets country boy, grumpy/sunshine. It’s beautiful and icy sweet. Slow moving in places but ultimately worth the patience, low heat, low angst, very pretty. 

8. Gameboys (Pinoy 2020 Netflix) - do I need to blurb it, I feel like you all know it. 

9. Given AKA Givun (Japan 2021 grey) - Boy joins band, falls in love with other boy. The singing is terrible, fast forward through that but with the possible exception of the hair styles, this BL could have been made in 2015 and no one would be surprised. As such, it wasn’t ground breaking, but it didn’t disappoint either. 

10. My Ride (Thailand 2022 GaGa) -  BL grew up with this pulp - a truly lovely and special little show featuring the extremely rare pairing of sunshine/sunshine AKA a cinnamon roll couple. Mature explorations of relationships using one of the softest, sweetest and most innocent friends to lovers vehicles. Kindly, overworked doctor meets broken-hearted motorcycle taxi driver in an “other side of the tracks” slow burn romance. The support cast is excellent, making for great friendship groups and family dynamics. With honest queer rep that adds to, but doesn’t impede the story, and genuine conversation about the nature of class, wealth, and classism, not to mention communication, honesty, and respect for boundaries, you can’t go wrong with this show. In other news, I am a sucker for a single dimple.

Outside the Norm 

Puppy Honey 1&2 - BL side plot (Thai 2016-2017) - sometimes you can find a BL FM cut on YT, otherwise you gotta watch it and fast forward the het stuff on GMMTYV’s YT channel. This is the origin of OffGun and still my favorite on theirs. 

Love is Science? - BL side blot (Taiwan 2021) there is no official BL cut of Mark & OuWen and we are sad. If they were it’d get a 10/10 form me. I LOVE THEM SO MUCH. 

A First Love Story microfilm (Korea 2021 Strongberry) - probubly my favorite friends-to-lovers. Strongberry are true masters of their craft and yet A First Love Story is still one of the best things they have ever produced. It’s two episodes of about 8 minutes each that manage to perfectly portray the sweetest friends-to-lovers confession ever. It’s joyful, and gentle with its characters, and a little hot. YT 

Stongberry’s Some More (GaGa) is also excellent.  

(source)

Updated March 2022. 

[onecornerface]

The “transvestigators”

I recently learned about  the Transvestigators. Some aspects of this seem new, other seem old.

I’m aware of more longstanding practices of “accusing” various cis women of being trans women-- examples include accusing Lady Gaga, Michelle Obama, “Hit or Miss” Girl, and others, of being trans women (or crossdressers, or “traps,” or what-have-you). Sometimes as a “joke,” and sometimes in seriousness. Non-conservatives may do this less but obviously aren’t immune-- I’ve seen people, seriously or jokingly, accuse Ann Coulter of being “really a man” too. (Ann Coulter does many very bad things. Sexist and transphobic methods of insulting her are also very bad.)

Some of the recent stuff I’ve seen seems new, though-- both in its scope of paranoia, and in its extension to targeting cis men by “accusing” them of being trans men. (Hurray equality?) Depending on various factors, this could turn out to be fuel for my contention that most types of oppression end up harming or targeting nearly everyone in some way or other.

The seemingly recent “Transvestigators” phenomenon seems to be a sort of community, as in the link. This involves both accusing cis women of being trans women (”really men”), and accusing cis men of being trans men (”really women”). I’m not sure how many people are doing this, and I hope it stays very fringe. I don’t think all trans-exclusionists are this nuts or at risk of ending up like this, but I do think it’s an illustration of what the basic paranoid logic of many types of transphobia can lead to.

For instance, it seems to be an amplification of problems that already existed, such as (1) obsession with trans women’s features such as hands and bones, (2) biologically unrealistic dichotomies of ideas about even what cis men’s and cis women’s bodies are like, and (3) the paranoid notion that ‘transgenderism’ is corrupting shockingly large fractions of the population (through e.g. “trends” and “recruitment” and “social contagion”).

(I don’t recommend looking into it unless you want to see some really off-the-wall transphobic paranoia. I leave it to the reader to determine whether these people are at fault, or whether they are likely too out of touch with reality for it to be their fault, or whatever other moral status seems most plausible to you (or whether moral fault is fake because hard determinism, etc.).)

In any case, it’s a potentially fascinating phenomenon.

In part, the new “equal”-ish element of the transvestigator phenomenon could be a manifestation of a recent increase in new (or new-ish) types of transphobia against trans men, in part related to trans men’s increased visibility, and new (or new-ish) anti-transmasc tropes among social conservatives and trans-exclusionary feminists. For instance, the last few years of pseudoscience discourse of “rapid onset gender dysphoria” mostly targets transmascs, and so does the various lines of bullshit in recent sensationalist books like Irreversible Damage. I’m pretty sure this is a change from earlier decades of transphobia that mostly targeted transfems while erasing transmascs.

(I have no opinion on whether the new anti-transmasc transphobia is worse or less bad than the older erasure of transmascs-- both obviously suck and are unjust).

Anecdotally I have heard that at least one of the transvestigators has accused Donald Trump of being a trans man (”female”). So there’s that. If true, I don’t know what political background it was coming from.

A lot of the transvestigators are obsessed with bizarre ideas about “bone structure” and the like, which seems like an interesting convergence (maybe not coincidental, I dunno) with some types of racism. Maybe there is extant literature on the relationship between transphobia, sexism, and racism that gets at some of this?

And (more likely coincidentally) the transvestigators seem to make many of their arguments via drawing lots of triangles on pictures of people, to prove they have the wrong bone structure-- this reminds me of Illuminati conspiracy theorists, who also are obsessed with seeing triangles everywhere. Also cf. the David Icke-style (and often antisemitic) theory that lots of people are secretly reptilians, and that careful analysis of photos or videos of their faces or bodies will reveal clues to their reptilian nature.

Finally, I have seen a post by someone who seems to think Mitch McConnell and Rachel Levine are the same person. I initially posted the image of this claim, but I didn’t want it showing at the top of my post (with my commentary below it, initially hidden) and I couldn’t quickly figure out how to get it to show up otherwise, so I deleted it. The paranoid style seems similar to the transvestigators, but I don’t know if they are directly related. I have not seen this type of claim elsewhere, and it seems to be in a league of its own. Rachel Levine really is a trans woman, but I very much doubt she is Mitch McConnell. I can’t rule out the possibility that the claim is a (bad) joke, but last I checked the account making it appears to be serious. However, I could be wrong about this.

[hellomynameisbisexual]

“Personally, I think choosing between men and women is like choosing between cake and ice cream; you’d be daft not to try both when there are so many different flavours.” This endearing analogy, uttered by equally endearing Icelandic icon Björk, stresses her steadfast opinion that “everyone is bisexual”. But even if bisexuality doesn’t describe everyone, it makes up the largest proportion of all people non-compliant to the adjective ‘straight’. Simply put, bisexuality is a term to describe individuals who feel romantically and/or sexually attracted to both sexes, meaning their preference is neither exclusive to men nor women.

But despite its sizeable demographic, and the numerous studies which conclude pure hetero- or homosexuality to be a myth, bisexuals often fall victim to social ostracism. Too gay for straights, too straight for gays, bisexuals are too frequently labelled as frauds or experimentalists, incapable of committing to one sole party. And as society’s understanding of sex and gender progresses, leaving little room for binaries, ‘bi’sexuality becomes increasingly complex.

Bisexuality Pride LGBTQ David Bowie Lady Gaga Freddie Mercury Music Pop Culture Pride 2019 Pansexual Queer Think Piece

A constant and bothersome companion to bisexuality is its apparent ambiguity—society’s inability to grasp the potential for erotic or amorous interaction with not just one of the two sexes has wrongfully made bisexuality a matter of superstition. A recent study found that bisexuals, of all sexual minorities, are the most likely to suffer from mental illness along the lines of anxiety and depression, stemming from both internalised and externally inflicted biphobia on account of stigmatisation and discrimination induced not only by straight people, but by members of their own community as well. The most prevalent vehicle for intolerance of bisexuals is (surprise, surprise) the narrow-minded idea of there only being two sides to pick from, leading to nonsense-assessments à la “bi people are repressing something”, “bi people are on the verge”. Moreover, male-identifying bisexuals are regularly pigeonholed as gay men who want to feel more “normal” every now and then by strutting alongside a woman, whereas many bisexual women endure belittlement, their experiences reduced to mere trial and error phases of rebellious college years.

But what does being bi even really mean in an age when dating apps such as Tinder offer more than 20 options to describe one’s own identity? How timely is the concept of bisexuality when we’re on the cusp of throwing out expired definitions meant to mathematise human sexuality and identity politics? Connecting the dots—ranging from those force-feeding frequently surreal interpretations of bisexuality to the rusty roles and rules of gender coinciding herewith—brings along another, very new problem for and with the titular term. Bisexuality is rooted in duality—its name is predicated on the ‘fact’ that there are two genders: male and female. Present day’s discourse, however, has done its best at dismantling said duality, pushing the notion of gender as a social construct. What makes bisexuality a problem for mainstream culture to comprehend is the underlying, subtle reality that it ultimately caters to everyone but the straight cis-man—unfathomable for a mindset cemented in patriarchal convictions. It, with other things, then leads to a phenomenon called bi-erasure, and furthermore to bigotry at its broadest, sourced from wide-spread disregard for sexual fluidity and refusal of the concept that one doesn’t feel exclusively drawn to one thing in favour of the other.

It’s this exact type of treatment that exhibits the general populace’s insufficient degree of sensibility in dealing with matters “out of the ordinary” and why, despite it’s historic prolificacy (ancient Greek, Japanese and Roman depictions of bisexual relationships were fairly common), sexual fluidity didn’t gain mainstream momentum until the 70s, when Freddie Mercury and David Bowie emerged as two high profile beacons of the cause. Where previously bisexuality had been the product of retrospective speculation—Hollywood figures such as James Dean, Marlon Brando and Greta Garbo were ‘outed’ after their careers ended—pop music popularised bisexuality in the present—and for an audience beyond the queer underground.

That’s not to say Bowie’s take on bisexuality exactly exuded ‘Pride’—in fact, the artist explained more than once that officially coming out did him more harm than good. Still an undeniable legend in- and outside of the LGBTQ+ cosmos, Bowie—just as other people in his shoes—had difficulties with the term in question, revoking or minimising claims again and again—to the point that, to this day, biographers, fans and exes alike remain unsure wether or not he felt honestly attracted to women and men, or was merely intrigued by bisexuality on a shock value- or curiosity-level. It resembles the kind of borderline sensationalism that brought forth Madonna and Britney’s VMA kiss, vague-at-best comments by celebs in interviews and other question-worthy instances of how bisexuality has been brushed up against, but rarely embraced on a genuine level by people of public interest.

It all charts back to what is referred to as the male gaze—the filter through which we’ve been taught to consume our environment, particularly by way of media. Even the little bits and pieces one does see tapping into alternatives to classic hetero monogamy are mostly blemished by negative stereotyping and bizarrely hypersexualised scenes fresh out of frat-bro wet-dreams. Going against this grain is Desiree Akhavan’s series “The Bisexual”, in which the 35-year old actress, director and HBO’s “Girls”-alumna has managed to entertainingly and thoughtfully depict what might be be one of the first examples of how to pop culturally handle the often conflicting topic of being bisexual with care.

Aforementioned proceedings considered, execution and a heightened awareness for cause-and-effects are why a new generation of vocal youth has, across all platforms, boosted a conversation to crack open the boxes we are either placed in, or choose to place ourselves in for fear of bad resonance. More modern, more inclusive designs like pansexual—the tendency to sexually or romantically like someone in spite of biologically- or self-ascribed traits of gender or sex—are on a rise. To many, ‘queer’ is the least restrictive of all labels, indicative of liberation from the binary. In this instance, it seems as though bisexuality in its traditional sense no longer remains the most politically correct of all notions.

But that being said, we mustn’t forget: labels can do harm, but they also set free. The ability to engage in conversations like these is a privilege we’ve been afforded in the West—a privilege that’s important to remember at the time when our part of the globe celebrates Pride, while others in the LGBTQ+ community elsewhere are being imprisoned or even killed for their sexual identities. Bisexuality, and everything that has branched from it to articulate sexual fluidity, needs to be taken seriously within our own, local spaces—just as serious as every other letter in the line-up that constitutes the LGBTQ+ umbrella. Resisting to defy suppressions of any kind—even if you’re not personally vulnerable to their consequences—results in nothing. It’s only through efforts to increase visibility inside our already comparatively progressive realms that we can transport Pride’s cause to places still at unease with non-heteronormativity, and actually feel proud.

[popmusicu]

Pop as a queer listener

As a queer person myself, I’ve always wondered where the idea that “this certain part of the LGBTQ+ community loves this artist” comes from. I get how musicians showing support to the community with their words, donations, by them holding up a pride flag or coming out can make people feel secure and welcome new listeners, but sometimes it’s not as easy as that to point out. Throughout history there’s always been genres that’ve attracted our demographic by being a safe space (until appropiated by straight white cis people as it happened with punk), but what’s so special about pop specifically?

Well, I’ve found that a big part relates to the fact that in pop music, everything’s a performance. From gender roles to feelings, everything’s exaggerated in a very specific way and I believe, in a biased opinion, that a lot of LGBTQ+ people can relate to it. Most of us were made to feel ashamed at a very young age so we learned to hide those parts of ourselves, so we free them through music and the fandoms that follow. For men, it taps into the femininity they’re boxed into by a misogynistic society the moment they’re attracted to the same gender but coming from women that try to celebrate the femenine and all of it's layers: Madonna, Gaga, Beyonce, Cher, among many more. For women, however, the biggest example that comes to mind from my lifetime at least is One Direction. While I went more of the emo kid route when 1D was at it’s peak, I was still fascinated by them and specifically Directioners. They were loud and surprisingly powerful, hacking into things and winning every single award that involved fan voting. Crazy from the outside maybe, but truly a force to be reckoned with. And funnily enough, a huge amount of those passionate teens ended up not being straight or cis. With One Direction and boy bands in general, the performance of gender equals to them being marketed to appeal romantically to their audience: Harry was painted out to be a heartbreaker even at his young age, Louis was the rebel jokester, Niall was the silly but sweet one, Zayn the mysterious bad boy and Liam a middleground between all those archetypes. They are a performance of masculinity and it’s hard for them to feel threating in a way that any day to day man would feel for women.

When it comes down to Kpop I see elements of both. Women see these non threathing but extremely attractive men with a different interpretation of fashion and masculinity (specially with fans in the west, where male artists do minimal makeup and wearing a skirt is groundbreaking) and relate to them to the point of naming some of them as wlw magnets (Yoongi from BTS or TXT all together) but also have this huge amount of girl groups to really see themselves in, even more so with physical touch between them being so normalized (Although it’s a topic that deserves a conversation of itself due to it’s fetishization of same gender attraction). The same thing goes for men, they can see these idols of boy groups hug and care for eachother in a consistent manner and find representation that we as a community hardly get in the music industry, but can also be part of the girl groups fandoms and be welcomed. Even with South Korea’s conservative stance in gender and sexuality, we somehow found ourselves a beautiful union worldwide where bit by bit it’s helping secure a place for ourselves and changing the industry itself.

The connection with hyperpop it’s something that also really sparks my interest and in my search of answers I discovered a book called “how pop music broke the binary” by Sasha Geffen and the interview about it by The Nation. In the interview, they’re asked about how hyperpop became such a prevalent genre for both trans artists and fans. She elaborates on how the processing and distortion that hyperpop is known for traces back to Wendy Carlos and her creation of the synthethizer. Trans artists found meaning in the transformation of their voices to reach new boundaries, breaking this binary of femenine and masculine voices by creating a new sound with it's own standard and giving us trans icons such as Sophie and Arca. I find this to be really important, as it finally gives credit to the trans community when often they’re invisibilized and used as tokens in the spaces where they’ve been the blueprint.

As a sort of conclussion to my thoughts, I belive pop has always been more than an easy marketable sound. It’s been a space for experimentation and creativity, where artists have defied the expectations of it being devoid of dept and only for money and have actually built a foundation of acceptance hand by hand with the community itself and created beautiful art. We’ve opened spaces that were made with such a heteronormative design to queerness, where we can now see a lot of us in the spotlight without having to hide the parts of ourselves that we were told bury, and we will do so as time passes because queer people have always been such a leading force in the media and the creative field.

Savka Polo Valdivia

[shadyb00ts]

A Chromatica Review

So I never really use Tumblr, but when I do go on here, it’s pretty much to review something long-form. As you can tell from my profile picture here, and from my glowing review of ARTPOP from 7 years ago, I am and have always been a Gaga stan. Just read the melodramatic first paragraph of my ARTPOP review and you’ll get the gist of how much I idolize this woman. Well, idolized. Past tense.

That’s not to say I suddenly hate Gaga–I’m still going to follow her career and listen to whatever she puts out. There have just been several factors this past year that have changed my perspective on how I view her, this album being one of those factors. But I’ll get to those later. First I just need to lay out all my issues with this album.

Yes, this is going to be that type of review, so if you’re a fellow Gaga stan that isn’t able to criticize her work, this probably isn’t for you. Otherwise please read to the end if you can, because this is honestly about more than just the album.

Issue #1: The Mismatch Between Music & Aesthetic

When the cover of the album came out, I was so gagged. Like, just look at it! It’s striking, and Gaga has rarely ever disappointed me when it came to visuals. Actually, I can’t even think of any visual choices she made in previous eras that disappointed me. Even in the Joanne era, the pink cowboy hat became iconic and all of her aesthetic choices fit with the overall vibe of that album cycle.

So naturally, when she revealed to us the new visual direction she was taking for Chromatica, I assumed it would give us some insight into how the music would sound. The aesthetic of this era always gave me grungy cyberpunk and heavy machinery tease. When I look at the album cover for example, I can hear a song produced by SOPHIE in my head, the clink-clank queen herself. (There were rumors that Gaga was going to or did work with SOPHIE but that was never confirmed, unfortunately for us.)

For those unfamiliar with SOPHIE, here’s Ponyboy, which was most recently used in the ad campaign for Beyoncé’s Ivy Park clothing line.

That was the kind of production I was more or less expecting when taking the visuals into account; dark, metallic, basically similar to ARTPOP’s production (to be honest ARTPOP sonically fits better with the Chromatica aesthetic; think about it). 

But what did we get? Light, garden variety dance pop, a stark contrast to what the album cover and the promo images teased us with.

In the album, we get these orchestral interludes that are beautiful but don't really mesh that well with the actual tracks. The songs don't have any orchestral elements by themselves, so the interludes felt a bit misplaced to me. I wish they'd incorporated more of that into the individual songs, so that there could be an orchestral through-line to give more cohesion, like what Ariana did in her album positions by using strings. However I will say, the transition from Chromatica II into 911 remains unmatched.

I get that the album is supposed to sound happy, that it was her returning to her “dance pop roots” and singing about serious topics like mental health over happy-sounding beats, because it’s supposed to reflect her current mental state. I get all that. But if that was the case, I think she should’ve gone with a different visual direction to match. Personally I wish she went a different direction musically instead, but even if it was just the other way around and she changed the aesthetic of this era, my opinion of the album would probably improve slightly, cause at least there would be cohesion between the visuals and the sonics.

I look at that album cover, and promo images like the one below, and then I listen to songs like Fun Tonight or Plastic Doll for example, and there’s a noticeable dissonance there. 

You might be thinking “why are you so hard on her for this?” and I guess it’s because I’ve always held Gaga to a high standard when it comes to how she links those two elements. Think of every era she’s had in the past, and you remember how the visuals always just worked with their respective albums.

And that’s before I’ve even talked about the videos. Oh lord, the videos.

Issue #2: The Videos Are Lackluster (Except For 911)

It started with Stupid Love, the lead single. I had mixed feelings about that song in the beginning, but because I was so thirsty for new music from Gaga at the time, I played that song like hell when it leaked and it was on rotation for a good while. But when Gaga premiered the Stupid Love video, I’m not going to lie; I really didn’t like it.

The whole “shot entirely on iPhone” schtick really did the video a disservice. I’m sorry but it had to be said. If I imagined the video with a higher budget and more of a plotline as opposed to just being a dance video, I think it could’ve worked a lot better and been a decent introduction to not only Chromatica the album, but this fictional world/planet that she’s created. Which by the way, she didn’t really deliver in that regard either. 

The concept of Chromatica being a fictional world could have been expanded on further; she could’ve showcased all of the different factions (I know they were called “tribes” at first but that’s appropriative so I’ll call them factions) and perhaps had an overarching storyline about how these factions are at war, and it’s Gaga’s job as one of the “Kindness Punks”, as she calls it, to bring everyone together for a rave.

This is why I will always say it: Chromatica needed to be a visual album. Just imagine the storyline I mentioned just now being turned into a full-length feature, and now imagine the album’s orchestral intro playing as they’re essentially opening the gates to Chromatica and Gaga discovers this world for the first time, and then it goes into the first song Alice where she’s meeting all the factions and getting acclimated to her surroundings.

Honestly I could go on and on cause I have thought about this for SO LONG now and I’ll never shut up about it. It’s just such a missed opportunity cause the concept was just begging for a visual album. Anyway sorry for my tangent: back to the Stupid Love video.

The whole “shot on iPhone” gimmick really was unfortunate. Like she really ruined the quality of a music video because she wanted that Apple check??? Come on, Gaga, there could’ve been some other way to secure that check.

And then there was the Rain On Me video, which definitely have visuals that are a massive improvement from Stupid Love because it was professionally shot and cinematic. But even that was another purely dance video with not much in the way of storyline. Not that storyline is always required for music videos, but I think specifically when it comes to Chromatica, not having storylines in the M/Vs does a disservice to the overall concept.

I guess my issue with these two music videos, but mostly Stupid Love, is that Gaga isn't fully utilizing her COIN. Like she's successful enough to the point where she has budgets for these videos and can go all out, but doesn't. She has the capacity for extremely high production value, but up until 911, the last video she did that had that level of extraness was G.U.Y. I miss the days when her music videos were an event. I still remember where I was and what I was doing the exact moment the Telephone video came out. That's impact.

Taylor Swift I think is somebody who really knows how to blow her budget on a video. Look What You Made Me Do may have been a terrible song, but I always thought the video was sickening.

Anyway, I have no notes on 911. She's a masterpiece. If there was a music video category at the Oscars, I'd be campaigning for it right now.

Issue #3: Any Other Girly Can Do This

The thing I always loved the most about Gaga's music was that nobody was doing it like her. Everything she put out always felt like it was distinctly hers and hers alone, it's unmistakable. Even in Joanne, despite that album being a major departure from what she normally did.

I know Joanne is a very polarizing album, even for Little Monsters, but personally I've always loved it. Joanne was an album that I always knew she would make and I thought was essential to her career and body of work. Despite her straying away from pop for a more earthy, grass roots sound, it still sounded very much like her music. Even from the first track, Diamond Heart, her DNA is all over that.

It's difficult to explain what exactly I mean when I say there's a certain signature "Gaga-ness" or that she has a very specific DNA injected into her songs. If you've been a fan of hers for a long time or followed her career, you probably understand what I'm referring to. It's the way she laughs maniacally in the beginning of ARTPOP on Aura, how she says "I don't speak German but I can if you like, OW!" and proceeds to recite broken German on Scheiße, how she invented the phrase "disco stick", literally the ENTIRETY of The Fame Monster.

These examples probably give you the gist of what I'm trying to convey. Gaga is fucking weird. She has always been fucking weird and I love that so much about her. And her brand of weirdness was so specific that if any of the other pop girls tried to do what she did, it would have been cringey as hell. To me, the most disappointing thing of all with this album was that this weirdness that was so uniquely hers was missing.

It's there in brief moments, in tracks like Sour Candy, 911 and Babylon, but most of the album doesn't really sound like her music. It sounds like songs that she wrote for other people, like her old unreleased stuff. OG Little Monsters probably remember songs like Second Time Around and No Way. These were leaked unreleased songs that Gaga had written for other artists, and even though they were absolute bops, they didn't sound like her. They weren't supposed to.

A similar feeling I had was when her song The Cure came out a few years ago. I genuinely thought that was something she wrote for someone else, cause even though it was a solid pop song, it absolutely had zero Gaga-ness and any current pop girl could sing it. This pretty much encapsulates how I feel about the majority of Chromatica.

I was gonna say it sounded like songs that were written for Ally, her Star is Born character, but I think even those pop songs from the soundtrack sounded more Gaga than Chromatica does. 💀 I can easily imagine Hair Body Face being on The Fame.

Final Thoughts

It's funny that the last review I had posted on here before this was my review of Kingdom Hearts III. The Kingdom Hearts game series is something that's very near and dear to my heart, and I waited a wholeass decade for the third game to come out. And then it did, and I was so disappointed.

So you know what happened after that? What helped me deal with my disappointment of that game was my anticipation for Chromatica, or at the time it was still called LG6. I had no idea I would feel the same exact way about this album the way I do about KH3. Now when I think of both of these things, I'm mostly frustrated by all of the potential and the missed opportunities, but I also look at them with a certain fondness. I had fun playing KH3, and I also had fun listening to Chromatica, despite both of them disappointing me overall.

In the beginning of this review I said that there were certain factors that have stopped me from idealizing Gaga too much. Firstly it's because I'm much older now, and secondly it's due to the sheer state of the world this past year. The pandemic really precipitated the fall of celebrity culture, and all of that made me really examine how putting someone on such a high pedestal can be damaging in the long run.

Gaga is a human being and I haven't agreed with everything she's done, particularly how she handled the whole R. Kelly situation back in 2013. And also the simple fact that she's a white woman, we know how a lot of the time they can't help but show their asses and are bound to disappoint us in some way. I'm forever grateful for her artistry and how she saved my life when I was a suicidal little eighth grader, but I'm also going to hold her accountable for any of her mistakes, and I'd be ready to stop supporting her entirely if anything she does ever goes too far.

Now I stan artists for fun. It's not healthy to idolize them to the point of revering them. I mean, I like to make jokes like that about Beyoncé, like "no way on Beyoncé's green earth", etc. But even she is just a person that we shouldn't deify for real.

I guess what I'm trying to say is that Chromatica being a lackluster album and era ended up being a good thing, because it helped me grow out of idolizing celebrities too intensely. Chromatica was pretty much the best disappointment I've ever listened to.

If you've read all the way to the end, thank you! Writing this was very therapeutic but also stressful; this is a second draft cause Tumblr fucked up my first post. 😭

Anyway, SAWAYAMA & Ungodly Hour are albums of the year. Argue with the wall.