#bikini review

[ankle-beez]

the new spongebob movie is very very not good

[stunningstarlets]

Ryder McCrann - in a pink bikini on TikTok 10/07/2023 [reupload in higher quality]

[bikini-ring-wrestling]

Saturday Morning apartment wrestling throwback !

[karlamon]

Saving Bikini Bottom is not just a disservice to my girl Sandy, but also an irritating laugh-free experience. If there's one thing to define "Bad SpongeBob", this is it.

My ★ review of Saving Bikini Bottom: The Sandy Cheeks Movie (2024) on Letterboxd:

[lesbianredhoodedmercenary]

I HOPE FAUST GETS BREAST REDUCTION SURGERY NEXT UPDATE

[ebi-noodle-doodles]

I dont understand tumblr for marking my content "Mature" when its a study but keeps blasting Inappropriate ad...

[poppletonink]

TRACK REVIEW: all american bitch - Olivia Rodrigo

★★★★★ - 5 stars

"I know my place, I know my place, and this it. I don't get angry when I'm pissed. I'm the eternal optimist. I scream inside to deal with it."

Feminist, witty, and furious. Olivia Rodrigo's riot-grrrl-inspired anthem, all american bitch, is a powerful decree of anger told in a wonderfully sarcastic manner. The chorus is full of the rage that exists in women everywhere at the patriarchal values that control and define our livelihoods. Rodrigo proclaims, her voice oozing with her vexation, that the objectification and sexualisation of women is blatantly wrong: "Forgive and forget. I know my age and I act like it. Got what you can't resist. I'm a perfect all-American bitch". Contrastingly, the verses are slower and calmer, perfectly expressing the stereotypical viewpoint of women as nurturing and understanding. Alongside this placid tone, Olivia makes fun of the common quips and stereotypes spoken about women worldwide such as the idea that we are more emotionally in tune than men and that we don't feel anger. This is Olivia Rodrigo's greatest lyrical work yet and undoubtedly a masterpiece; the power and incredible strength of women everywhere flows throughout every word. The scream near the end of the song is a release of the pent up anger - it is the cry of frustration that we are still not equal after years of protesting and change. Infused with the fury and beauty of 90s feminist punk music, and reminiscent of Bratmobile and Bikini Kill, all american bitch is a song that should be on every feminist everywhere's playlist.

[naz-art]

I watched the “Saving Bikini Bottom: Sandy Cheeks” movie recently, and there’s this one part out of many that solidified the feeling that this movie was definitely a low point in the list of SpongeBob movies.

SPOILERS AHEAD

Nearby the end of the movie Sandy’s family gets called using a whistle and they easily enter in the lab that the main cast are trapped, which is weird because I thought it was established that it’s a pretty hard place to enter but idk, I wasn’t taking notes.

Anyways, the family tries to save bikini bottom all by themselves but it seems like they can’t, until they quickly come up with a plan that involves more people and then Pa Cheeks takes a steel beam and bends it as everybody watches and SpongeBob says “[sigh] he’s so masculine.” and then Pa responds “Yep, even my muscles got muscles!”. That part stood out to me for a while and I didn’t know why, until I realized that:

1. Why would they spell that out for everyone when it was already established earlier in the movie that Pa is the strongman of the circus family?

2. I’m not sure if this is a real thing, but I think some characters have a original voice to them and I think SpongeBob would never say that casually, he’d use the word ‘macho’ in that scenario. I guess the word masculine is just too precise and long for it to be in SpongeBob’s casual vocabulary?

They probably did that part just to fill the air, but they could have had it where Sandy gives out instructions to everyone, and then we see them all doing what’s needed through a quick montage to each person so then it feels like it’s a bit more build up to the escape and it’d feel much more busy instead.

BTW be aware that I might be wrong because this is based off of a fuzzy memory of the movie. Anyways, thanks for reading my first small movie criticism!!

[granitefilmreviews]

A couple of jokes that land and some enjoyable performances from Tom Kenny/Wanda Sykes make this film watchable. But bad jokes, writing, performances, visuals, and art styles show it for what it is, a disservice to the original show.

[deermouth]

In a power dive In a slow burn Over ancient fields Over islands From the slope and the rise Of the mainland Unfamiliar shores Through the atmosphere Over rain clouds To the brimming bowl Coral-inlaid How we lit them up Everlasting With the sun in our eyes

[stunningstarlets]

Aly Michalka - Ocean Pacific campaign photoshoot 2011

[libratalks]

The (absent) demise of the "Riot Grrrl" genre!

Disclaimer: this text was created for an essay submission, so the prose may not be similar to my other blog posts. Nonetheless, it is still incredibly important to me, along with being one of the best pieces of work I have ever had the honour of constructing. Thank you for reading.

What essentially birthed the genre of 'Riot Grrrl' music was the exclusion of women in musical spaces regarding the punk-rock persuasion and punk movement throughout the 1970s. Although the involvement of women began to become prevalent during the second wave of feminism, with bands like X-Ray Spex and The Slits being formed, punk-rock was still seen as ‘cock rock’, a loud and predominantly male genre. It seemed as if there was no room for the inclusion of female artists within the genre of punk-rock. That is, until the start of the 1990s and the third wave of feminism, where the formation of a specific band called Bikini Kill began the rise of the Riot Grrrl movement, dedicated to tackling feminist issues and providing a focus on the political, social, and economic disenfranchisement faced by women. These weren't bands consisting of heavily skilled musicians, for half of Bikini Kill's members played their instruments without any prior experience or knowledge. This wasn't entirely unspoken of, for there were many boy bands who were getting up on stage without knowing how to really play a note. The difference is, Bikini Kill believed possessing musical talent within skill wasn't important; the true talent lied in using their music as a tool for activism. This is why one of the most influential aspects of the Riot Grrrl movement was the usage of zines to spread the feminist manifesto and the rise of these upcoming bands, for zines were the perfect tool of visual art that best emphasised the 'do it yourself' persona attached to the Riot Grrrl and punk movements. By creating sources of media that highlighted issues of sexism, patriarchy, abuse, sexuality and rape, especially through the female gaze, the Riot Grrrl movement was further strengthened by the formation of bands such as Bratmobile and Heavens to Betsy along with Bikini Kill. Although incredibly influential for women's liberation and shining a light on the issues they face, Riot Grrrl is infamously known for its exclusion of intersectionality within visual representation: there were issues of racism disclosed and explored in Riot Grrrl zines, however Emmanuelle Mphuthi reiterates that 'none of the revered figures of (the) movement were Black or women of color.' Despite this, there is a huge question surrounding whether the movement has died or if there is a resurgence occurring in contemporary society for the 'Riot Grrrls' of this generation.

Replacing the "i" with three r's, allowing a growl paired with "girl", "Grrrl" is a forceful reclamation of girlhood, by reiterating it in the stance of female anger perfectly paired with the genre's howling vocals in a bid to reject female subordination and accept female animosity. Along with this, it is the re-establishment of the naughty, confident and curious personalities young girls possess before they begin their venture in society as young women, demonised and degraded by the patriarchy to stop being loud and to stop playing with boys and to concentrate on learning how to girl. Due to the genre's innate rejection of gender stereotypes, it is no surprise that it is filled with aggressive displays of women empowerment and girl power. Arriving at the end of the second wave of feminism, where the debate regarding the legalisation of pornography was existent due to anti-pornography feminists wanting to limit the porn industry as it catered only to men and encouraged violence towards women, some feminists deemed this as repressive as there were women who chose sex work, and to limit the porn industry would be to limit their work. Already, before the start of the third wave of feminism, there is debate regarding a woman's choice. With the third wave of feminism beginning with the 1991 Anita Hill testimony, a sense of liberation is tied with intersectionality for the first time, this new wave of feminism focusing on race and gender and political representation and equality for women.

This only helped prompt an emphasis on reproductive rights for women, much like the second wave, hence the brutal honesty surrounding female empowerment through punk rock to begin discussions of patriarchy and body image for the female youth. Thus, the Riot Grrrl movement is constructed and strengthened, paving a way for the female youth to be involved within the punk movement; for youth has always been a motif in the punk milieu because its attitude naturally rebels against authority. Best depicted in the genre's lyrics, there is an obvious distinction between the male perspective and the female perspective: Blink-182 writes 'I want a girl that I can train' in one of their songs; the Ramones write 'well, you're a loudmouth, baby / you better shut it up! / I'm gonna beat you up', perpetuating elements of physical violence and harmful hegemonic-masculine attitude towards female subordination. In contrast with this, Bikini Kill writes 'Just cause my world, sweet sister / Is so fucking goddamn full of rape, / Does that mean my body / Must always be a source of pain?', highlighting the normalisation of rape culture and the issues regarding the female body. In doing so, along with the use of the word "sister" to address their female audience and the brutally explicit drop of the word "rape", Bikini Kill emphasises the fact that Riot Grrrl is all about being raw and not being afraid to have those conversations. It is this unfiltered, gritty and brave attitude of Riot Grrrl bands that allows the movement to be influential and inspiring for (young) generations of women.

In accordance with themes of feminism and girl power, the usage of zines in the nineties helped convey a tinge of individuality to the Riot Grrrl movement. In its entirety, the movement was a personal and brutally honest conception, best depicted in zines' manifesto-like nature, emphasising the youthful framework attached to what these zines were highlighting with their messy hand-written font and eccentric colours, such as hot pink paired with black. One of the zines published by Bikini Kill featured a hand-written flier, acting as a feminist manifesto, with lines such as 'Resist the temptation to view those around you as objects and use them' and 'Burn down the walls that say you can't' - the latter underlined aggressively in black marker juxtaposed with a crimson red background. This further highlights Riot Grrrl's ambition to focus on the individual's responsibility not to perpetuate the system of oppression and how to tackle the personal in political terms. With the use of a crimson red paired with black, there is a sense of feminine urgency attached, depicting the nature of a woman celebrated through her menstruation.

Another reason why zines were the perfect tool for the Riot Grrrl movement is because when analysing the movement now, there is a sense of nostalgia attached: in the age of no advanced internet or technology, zines were the best tool for quickly and locally disseminating information beyond and before web content, especially in youth culture. Along with this, zines had a unique way of portraying a confrontational style of in-your-face politics, which was perfect for the third wave of feminism, portraying a sense of belonging for the individual as anyone could make a zine about anything. The entire essence of the Riot Grrrl movement was that it was an opposition of the mainstream, best conveyed with the use of zines as they helped capture a culture in a way that mainstream, conventional and often exclusionary models of publishing couldn’t.

As influential as Riot Grrrl was for advocating for women’s liberation and sexual freedom, one of the strongest criticisms of the movement was that it lacked the emphasis on women of colour entirely. Highlighting female anger, it is no coincidence that the movement gained a large fanbase after the 1991 Anita Hill testimony, for female thought was provoked and encouraged by the case’s emergence; a movement that was kick-started by the abuse of a Black woman possessed so few Black representatives at its helm. Furthermore, the punk-rock genre was deemed a predominantly white, male genre - a common misconception due to the silencing of many Black musicians. Dating back to the early 1900s, music composed and released by Black individuals was categorised as 'race music' in order to profit off communities of color whilst also restricting the music played on white radio stations.

In terms of the punk-rock genre, however, many believe it has become whitewashed; there were Black punk bands pioneering the punk movement with their fresh new ideas long before The Clash and the Sex Pistols, such as Death, a band composed of three young black brothers who have gained a large cult following today. Retrieving attention back to the Riot Grrrl movement, there is also X-Ray Spex, with the frontrunner being a young Black woman, refusing to adhere to society's objectification of her body. Yet, despite this, it is a sad fact that although X-Ray Spex paved the way for the Riot Grrrl movement long before it was constructed, Bikini Kill is the band connected to the movement the most. In addition to this, there is the inclusion of Courtney Love’s band Hole as one of the most influential bands within the Riot Grrrl Movement, with a discography full of songs that advocated for badass and unapologetic feminists. Despite this, Love has been heavily criticised by many intersectional feminists for her racist comments, where she previously demanded the crowd at one of her concerts to 'scream the n-word', along with asking a Black woman whether she really does enjoy rock music, for she is Black and that would be synonymous with Love, a white woman, 'being into Lil Wayne.' Highly detrimental to the nature of the Riot Grrrl movement, Love has also been criticised for her victim-blaming comments, where she asked a woman who had been raped why she didn’t expect it to happen. It is often a shock for many Hole fans when reminded of this altercation, for Love wrote the feminist anthem ‘Asking for It’, a song highlighting the brutal nature of rape and the long-term effects of assault on victim-survivors; many victim-survivors refuse to acknowledge Love as a feminist icon, for her comments surrounding victimhood and victim-blaming remain harmful.

Further supported by Bikini Kill’s Kathleen Hannah, Love was called out by the queen of the Riot Grrrl movement, only to be met with physical violence by the hands of Courtney Love. This best highlights the damaging notion the Riot Grrrl movement advertised that if a woman is strong and opinionated then she is, by default, the poster girl of feminism even if her so-called feminism ignores racism, transphobia, ableism, classism and so on. On the other hand, what frustrates many women of colour who are consumers of the Riot Grrrl genre is the lack of representation within the movement for themselves. Described as a movement for the 'young, white, suburban and middle class' women in society, many feminists would wholeheartedly disagree, for that is only what the media focused on. The real riot Grrrls were those of all ethnicities, especially the black women that participated in (and out of) the movement. These black women carved their own feminist pathways into the hard core scene solely because they were rendered invisible by the movement itself, such as Ramdasha Bikceem, a young Black woman who constructed a Riot Grrrl zine in the perspective of a black Riot Grrrl. It is an inspiring and influential notion tied to the nature of Riot Grrrl, yet it is also heart-breaking, for no woman of colour's contributions to the movement should be swept under a rug of whiteness and should instead, be at the forefront of the movement along with their white peers.

Embedded within the celebration of all women and unapologetic female anger, the Riot Grrrl genre would thrive in contemporary society – or would it? The movement itself is as relevant today as it was back when it was formed, especially tied with the #MeToo movement, however the entire essence of the Riot Grrrl movement is an opposition to the mainstream, and with the rise of pop music towards the end of the nineties, therein occurs the loss of interest by the media and the 'death of Riot Grrrl' in 1995 and 1996. Yet, despite this, many believe that Riot Grrrl never truly met her demise, visiting a resurgence within the music of Alanis Morissette, igniting a celebration for angry women, along with the brutal lyrics of 'Bitch' by Meredith Brooks, and the ‘howling vocals' of Fiona Apple. This label of ‘angry woman rocker’ attached to the aforementioned female artists within pop music originated with the Riot Grrrl movement, especially as their songs helped espouse feminist values and protest violence against women.

Along with this, female rage was selling music and magazines, which coincides with the obsession contemporary society has with celebrating the rejection of female subordination and the right to rage. Gone are the days of asking women to be gentle and kind, to avoid overt displays of negative feelings such as rage and aggression in fear of appearing “unfeminine”, for there is now a rejection of this societal conception that women who defend themselves, hold strong opinions and are competitive and verbally self-assured are “rude” or “belligerent”. The themes circulating why the Riot Grrrl movement was made are still present today, hence why the movement is still very much alive. What’s perhaps the most exciting aspect of this is that there are now women of colour at the forefront, such as Olivia Rodrigo, Willow Smith, and the band The Linda Lindas, conveying Riot Grrrl's uniform 'over-it attitude' and the 'howling vocals' aforementioned. The best example of Riot Grrrl being present today is through The Linda Lindas’ song ‘Vote!’, written and released as a public expression of the young women's dissatisfaction with the Trump administration.

Stripping the movement of its white-feminism and retrieving all art that was pushed under the rug of whiteness, the Riot Grrrl movement is essentially at the strongest it has ever been in today's age, due to the easy-access of the internet, along with the fact that there is now an inclusion of women of colour: Alice Bag, a Mexican-American punk singer, being one of the opening gigs for Bikini Kill's recent tour, along with Shamir, a black indie-rock musician. These artists have one thing in common: the hunger to defeat oppressive powers, highlighting the essence of Riot Grrrl. As society progresses, we see a shift in the Riot Grrrl movement - it isn't as explicitly referenced as it was in the nineties, but the mentality remains because feminism remains, in all its layers of intersectionality.

Although the Riot Grrrl movement possesses its criticisms embedded within racist connotations, the sudden shift into intersectional feminism in contemporary society allows a resurgence of the genre. First constructed to allow a space for women to essentially rock out and meet the horrors of girlhood in brutally explicit lyricism, by reconstructing the label of 'SLUT' in a female gaze to allow sexual liberation and autonomy after decades of being stripped the choice to, Riot Grrrl helped highlight the importance of placing taboo subjects like rape out in the open. Essentially, the movement celebrated the idea of women loving women, warning one another about dangerous people and providing community and support to survivors. To take part in the movement, there is the acquisition of being vocal about other important issues that were once rare or invisible such as gender variance and racism, issues that are visited today.

Although the movement is seen through a new lens with today’s digital age, there is still the usage of zines in terms of blogging and creating graphics on Pinterest and Tumblr, especially using the app Shuffles, which takes your pins from Pinterest, cuts them out, and clips them together. Along with this, there is also the use of zines on Instagram, paired with online activism and blogging – further implemented by feminist scholars and blogs. This new age of zine culture can be traced back to the pandemic, where it has been an outlet for those dealing with boredom and extra free time in quarantine. With zine culture being reborn in the age of intersectional feminism, there is a fresh new face for the Riot Grrrl movement, one that tackles the many criticisms it first faced during the nineties. Due to possessing similarities to how it was first conveyed in the nineties in contrast with today, there is an inclusive space for women of all ages and all ethnicities to erase the “i” in “girl”, and replace it with three r’s, as a celebratory growl within their liberation. With the rise of upcoming girl bands and women artists who are unapologetically unafraid of being raw and brutal, the Riot Grrrl genre (and movement) experiences an absent death, in the sense that it never truly died.

[still-single]

Adulkt Life – There Is No Desire (JABS/Our Voltage)

Second album for this Male Bonding-meets-Huggy Bear tussle and I think this one edges it. 2020’s Book of Curses was refreshing for its launch into a Gravity-welled pseudo Antioch Arrow echo pile of riffs, but There Is No Desire, launched by a flotilla of friendos, puts big riffs front and center (and they are big BIG riffs, some of John Webb’s biggest, at least of what I’ve heard, and hope he hasn’t been holding out on us all this time) and Chris Rowley’s lyrics-that-sound-like-the-collages-he-makes-look delivery feel like the safety in all of this for once. They definitely rubbed off some of that time spent with METZ in this new set, at least in terms of the volume war going on within, and the push-pull that gives more space for Sonny Barrett’s poly-rhythmic-roly drumming to sit up top (the action in the second half of “Blackout” is real excitement). Wow, if only we could ever hear this band live, right? Also kinda glad this band slowed down the pace and let these big boys loose up front. Record sounds balanced, not one of those things where a band unloads all sorts of chaos and closes on a slow, contemplative bit. Diggin’ it, even with that lyric about McDonald’s fries in “4’33””. Don’t fuck with a truly legendary product. (Doug Mosurock)

[b3crew]

REVIEW | "SpongeBob SquarePants: The Cosmic Shake" | B3 - Boston Bastard Brigade

As licensing games go, SpongeBob SquarePants: Battle for Bikini Bottom ranks highly. It’s hard to believe it’s been nearly two decades since that title first graced a GameCube, with one follow-up SpongeBob game after another failing to recapture that magic. Perhaps it’s a good thing Purple Lamp Studios — who developed the remake back in 2020 — was given a crack at making a proper successor to that game. The end result, SpongeBob SquarePants: The Cosmic Shake, feels exactly like what a true sequel should be, albeit with a couple of minor flubs.

The Cosmic Shake begins after a day at the Glove World theme park. SpongeBob and Patrick meet the mermaid fortune teller Madame Kassandra, who sells them magic bubble soap that claims to make wishes come true. After goofing off with the soap, the duo discover that it belongs to King Neptune. Soon chaos erupts, with Bikini Bottom being ripped apart, and its pieces sent to various dimensions.

Now SpongeBob and Patrick — the latter of whom has turned into a balloon — must fix their shattered town. To do that, Madame Kassandra instructs them to collect Cosmic Jelly to help make costumes for SpongeBob to wear. With the right suit, SpongeBob and Patrick dive into various worlds to save the likes of Squidward, Gary, Sandy Cheeks, and even the pineapple that’s under the sea. But is Madame Kassandra helped the duo out of the goodness of her heart, or is she planning something nefarious?

One of the great things about SpongeBob SquarePants: The Cosmic Jelly is its story. The narrative and dialogue feel like they’re a part of the golden age of the classic cartoon. With an homage or two from the series’s best episodes in tow, Purple Lamp Studios manages to craft a story that’s not just entertaining, but also laugh-out-loud hilarious! From a certain bus stop in spooky Rock Bottom to the Flying Dutchman’s beloved socks, every little nod showcased fits terrifically with the narrative being told.

Click here to read the rest of the review!

[kommabortsig]

Hot_Import_Nights_bikini_contest_35.jpg

[thebananniediariesbyannie]

Your New Go-To: Ballia Bikini Oil for Smooth, Soft Skin

with summer all year round in my heart, keeping my skin smooth, hydrated, and irritation-free is always top of mind, especially in delicate areas like the bikini line. that’s why i’m excited to share my new obsession—ballia bikini oil. this little bottle of magic is specifically formulated to soothe and protect the bikini area (and more!), and it’s quickly become an essential part of my skincare routine.

What Makes Ballia Bikini Oil a Must-Have?

ingrown hairs can be a real pain—literally! this oil helps to calm and soften the skin, reducing the likelihood of ingrown hairs after hair removal. it works wonders when applied regularly, keeping the skin smooth.

whether you shave or wax, the bikini area and underarms are prone to irritation and razor bumps. ballia bikini oil is packed with natural, soothing ingredients that help calm the skin, reduce redness, and prevent those pesky post-shave bumps.

Effective Ingredients

what i love most about ballia bikini oil is its clean, natural formula. with a blend of oils like jojoba, rosehip, and lavender, it’s free from harsh chemicals, and perfect for sensitive skin. i feel good knowing i’m using something gentle and nourishing on my body.

How I Use It

after shaving, i apply a few drops of ballia bikini oil to my bikini area and underarms. it’s super lightweight and absorbs quickly, so it’s easy to incorporate it into your routine.

still thinking about it?! 👇

follow along for a daily dose of style, beauty, and wellness wisdom served with a side of humor and a sprinkle of self-love – because life's too short not to be fabulous, and I've got some of the secrets to help bring out your best self

Disclaimer: Always follow the manufacturer’s instructions when using Ballia Bikini Oil. I am not responsible for any adverse reactions or injuries resulting from the use of this product.