#jb twitter icons

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[koobrina]

JUSTIN BIEBER ICONS + BARBIE HEADERS

✶ like or rebelog if u used !

[biebspcks]

like if you save. reblog to share

[stuffjustinb]

[iconsfairytale]

like or reblog if you save.

[moonyicons]

hii could you maybe do messy cute julien baker layouts?? :D

hi hi!! sorry this is so late

jb layouts ˚‧⁺ ･ ˖ ·

pls like and reblog if u use, tag me on twt ihrtnialler

[drewiconss]

justin Bieber 2011

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[beauperalta]

Josh Beauchamp icons

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(live 7/1/2023)

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[louisisalarrie]

I wasn’t around for Stalker Sarah? Can you explain?

Stalker Sarah was an iconic, and very disliked, person, particularly during the height of directioners and beliebers. She is the daughter of a very high up pap, and so has basically met every celeb ever. Her dad would get tipped off, she’d tag along, etc. She was non stop following one d and jb around that time, along others, and we’d get so pissed off with her and just wanted her to leave them alone because she crossed so many boundaries with privacy etc. It looks like she’s actually trying to advocate for celebs rights a bit more these days, and has almost always fully embraced her stalker title. She never left anyone alone and taking photos/meeting celebs was quite literally her whole life. She actually became lowkey friends with some celebs because of how often she met them and then would attend events with them, and just started running in circles a little higher. Then she started working for her dad, organising the filming of celebs arrival in cities, crowd control etc.

A photo of her and the boys:

And her obsession with Harry

And louis:

And there are waaaaaay more photos on her Instagram. Also here’s her twitter, she blocked me a very long time ago HAHAH

anyway yeah just disrespectful but she’s really owning the whole thing now soooooo good on her, I guess. glad privacy is a lot stricter these days.

[iconsfinder]

[koobrina]

hailey bieber icons + justin bieber headers

✶ like or rebelog if u used !

[biebspcks]

like if you save. reblog to share

[stuffjustinb]

[markwatkinsconsumerguide]

Consumer Guide / No.122 / writer Julie Burchill with Mark Watkins.

MW: What are you doing at the moment? 

JB: I’m preparing for the one-night-stand on Brighton Pier on September 22nd of my play (written with my husband Daniel Raven) AWFUL PEOPLE. It was an unexpected sell-out during the Brighton Fringe festival and I’m delighted to be bringing it to the most gorgeous and, yes, ICONIC (I hate that word!) place in Brighton. There are a few tickets left - and I’ll be buying the drinks if anyone fancies it.

MW: What newspapers / magazines do you read?

JB: I’m lucky enough to write regularly for the only magazine / website I love - the Spectator and Spiked.

Julie Burchill, Author at The Spectator

Julie Burchill, Author at spiked (spiked-online.com)

If I buy a newspaper, it will be the Daily Mail, which I also write for.  It’s arrogant, but accurate, to say that the newspapers which have sacked me have no merit -  otherwise they wouldn’t have sacked me. Apart from Tomiwa Owolade and Gareth Roberts, I’m still the best hack around.

MW: Thoughts on two media moguls Robert Maxwell (RIP) and Rupert Murdoch... 

JB: Those were the days! When I wrote my smutty novel 'Ambition' in 1989 these two were mythical figures, though my anti-hero Tobias Pope was a kinky sex fiend, which these two weren’t though Maxwell put it about a bit.

I was once in a lift with Mr Murdoch at my London home-from-home, One Aldwych hotel - my friend nudged me and said ‘Ask him if he wants to buy the Modern Review!’ I was too shy but I did notice that his shirt cuffs were frayed, which I found appealing. He looked like a worker, not a ponce. I worked for him lots at the Times and Sunday Times back in the twentieth century but never for Maxwell, who was obviously a bad man - evil, not good-bad.

MW: Were newspapers ever rock & roll?

JB: Wherever I went I brought a reckless air with me - I was always attracting libel cases and getting sacked for being bad on Twitter. At the NME we could openly take drugs in the office - at a newspaper you’d never do that but it didn’t really matter as - when I started in Fleet Street in 1984 - the drinking culture was still so strong. You’d get taken out by your handler and the lunches would last five hours! When the move to Docklands took place that all changed but it didn’t bother me - I haven’t worked in an actual office since I was a teenager.

I’m not sure if newspapers have a future, so I was tremendously fortunate to be young and restless during the 80s and 90s, when there was so much money washing about - I remember getting a mortgage on a huge three-bedroomed flat in Bloomsbury when I was 24, just on the basis of writing one column a week for the Mail On Sunday. Try doing that now!

MW: Why did the Modern Review ultimately fail?

JB: It was a victim of its own success - the first editor of the Sunday Times Culture section was quite open about basing it on the Modern Review and now you see that intellectual evaluation of popular culture everywhere. It was inevitable, as popular culture is so vital, but no one does it as well as me and Toby and the best of our writers did. All the broadsheets have the stink of the swot about their popular culture writers.

MW: Why do you think it seems that so many people still HATE rather than LOVE Margaret Thatcher, even though she died ten years ago (2013)? Will history eventually judge her (any) differently?

JB: Interestingly, I was in a very studenty, Left-wing part of Brighton yesterday - the North Laines - and I was amazed to see badges and T-shirts with her image on - no nasty words, just pop-art images of her looking attractive. I was quite shocked!

I think history won’t judge her as harshly as we did at the time; even I, who found her fascinating, never voted for her because of my tribal attachment to the unions (my dad was a shop steward) and the miners (he was also a Communist.) There are so many lying, insincere politicians around now that I think her honesty seems exotic and admirable.

MW: How do you think WOKENESS came about in society and do you think it's a phase or here to stay?

JB: The privileged wanted to find a way to hold onto that privilege and realised that those groups which had been oppressed now stood a chance as society became more meritocratic, during the prime ministership of Wilson and then of Thatcher; women, the proletariat, people from ethnic minority backgrounds. Thus they grabbed themselves oppressed identities (trans, non-binary, neuro-diverse) so that they could hold onto their privilege and stop the rise of the meritocracy by creating new categories which could now demand representation.

But the Woke ultimately hold the seeds of their own destruction because they simply aren’t very smart. They want more than anything to be ‘creative’ but they can’t create. The Roisin Murphy moment was a turning point - the first time a witch-hunted artist not famous on the scale of a Rowling or Gervais has done better, not worse, after the attempted ‘cancelling’ by the pitch-forkers.

MW: Bristol or Brighton?

JB: I left Bristol when I was 17 and I’ve been in Brighton for nearly 30 years, so Brighton, obviously. They share the same Wokeness but there’s a loucheness in Brighton which can’t be conquered. Nothing beats the Bristol accent, though!

MW: Your current Top 3, "Girls On Film", and why they impress you…

JB: There aren’t any modern actresses I like except Jodie Comer - they’re generally so wet and woke. I love the swashbuckling sex bombs of the past - Taylor and Gardner and Bardot. And I’m writing (with Daniel again) a play about Marilyn Monroe for next year’s Brighton Fringe.

MW: The first record/s you ever bought? More recently?

JB: "Band Of Gold" by Freda Payne at 11. Such good taste so young! Recently, I like Santigold who I discovered far later than everyone else - she’s so clever. Black female singers have been the constant in my cultural life.

MW: What books have you read the most times?

JB: 'Brighton Rock' (Graham Greene), 'The Gorse Trilogy' (Patrick Hamilton), 'Cold Comfort Farm' (Stella Gibbons)…all of them just the most perfect prose, which when I was young me feel awestruck and determined at the same time.

In recent years, 'A Ladder To The Sky' by John Boyne - just a perfect, thrilling novel. I was so surprised and excited that he recently changed his views on the trans nonsense! But I loved him anyway, even when he was on the other side.

MW: Your autobiography is called 'I Knew I Was Right', give an example when that's been true (borne out) in the year to date...(personal & professional)...

JB: Personally, I always knew I’d get married more than once - I always dreamt of getting divorced, not of getting married, when I was a little girl.

Professionally, I knew that I’d be a great writer - and that I’d be unpopular. I’m very happy with the outcome of both; I decided when I was very young that the conventional life was not one for me, and when I observe my respectable friends, it’s with horror rather than envy.

MW:  In your first novel, 'Ambition', Susan Street is " the first truly modern heroine of the blockbuster". 'Ambition' is voyeuristic in content, descriptively detailed and so more than a "quick lick!" When writing it, how did you balance having an original plot with good (or bad!) sex? In the light of shade, well 50, are there any comparisons to be made between the two books?

JB: The main difference would be that I’m a very good writer and E.L James is very poor.

The secondary difference would be that she’s very rich and I’ve blown several fortunes on philanthropy and having fun. Though I would hate to be known for my work being used as an alibi with which men can attempt to get away with murdering women during sex - the ‘Fifty Shades defence’ - I was until recently a little envious of her wealth - and then I had to review her new novel for the Spectator. I can honestly swear that no riches on earth could compensate me for being such an atrocious writer.

Besides, I wrote 'Ambition' when I was young and beautiful - I find something a bit sad about people writing dirty books in middle- or old age; they seem a bit unhinged, somehow.

Smut is a young person's game if it’s to be carried off with style.

MW: Do you still have ambition?

JB: Just to keep writing well - it’s all I’ve ever wanted, since I was a child.

MW: What comes to mind when you look back on this FACE?

JB : How tremendously lucky I was to come from a working-class home with no books in the house, no university education, no contacts - because only under these circumstances could I be sure that sheer talent alone took me as far as I’ve gone. Though people who benefit from nepotism appear to be lucky, THEY’LL NEVER REALLY KNOW if they could have made it through merit. Doing so gives a person a superhuman level of bulletproof confidence as it’s so rare. For a working-class woman to earn a handsome living from writing for decades? I bet you could count us on the fingers on one hand in each generation.

As for losing my looks, it feels extremely pleasing - from the age of 12, when grown men started bothering me, it feels like I had some sort of sex-target painted on my back. But it was great being good-looking as well as clever.

I’ve had enough fun, love and money for nine lifetimes - how could I ever complain!

Julie Burchill (@BoozeAndFagz) / X (twitter.com)

(c) Mark Watkins / September 2023.