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marshbevvie · 24 days ago

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if you don’t know us by now

The Losers and I have a special message! It’s called: “respect your queer brothers and sisters”. I already went crazy on the hashtags for my silly little “Losers Cult” post:

and with this revelation in hand, my favorite Losers and I, aware that some people have been seeing my platform, have decided to all come out to remind Tumblr, the little fandom of our fun little club, and the fellow Derry protectors that we, and all queer people, were BORN THIS WAY.

I’m Beverly Marsh, and I am bisexual. I’m going out with Ben, but I have always had feelings for men and women, and I always will. I’m a bi who rides a bicycle!! Yeah, Richie thought that was funny but I’m not so sure. I’m honestly a bit of a butch if you ask me.

Bill is proudly bisexual. He never had to come out; we all sort of knew it and so did he. I’ve caught him giving googly eyes at both Natasha Romanoff AND Thor when Stan makes us watch his superhero movies (Stan shockingly likes them; Eddie points out all the factual inaccuracies and parts where the characters should logistically get sick, mortally wounded, or die).

Richie Trashmouth Tozier is the loudest, proudest, craziest gay man (scratch that— man in general; who else would call blood “Hamburger Helper”?) I know. He’s flamboyant sometimes, funny, and proudly with Eddie. He also insists on saying “caca” instead of “shit”. I don’t know why but that sets off my gaydar SO much.

Eddie Kaspbrack is also a gay man. He says he’s a bit more subtle (he likes drag, but personally wouldn’t do it) but it’s obvious from the way he looks at his boyfriend Richie that he is a.. germ-repellent rainbow! He has shorts with rainbows on them, come ON guys.

Mike is AroAce. He isn’t sure where he falls on the spectrum exactly, but has never thought about romance or attraction. He’s more big on history and ensuring Derry remains safe! A noble goal. Lucky we’ll be here to help him out!

Stan is questioning a bit; he isn’t too big on who he’s attracted to. So far he says he’s a straight ally, but isn’t entirely sure and thinks this could change one day. Well, we’ll be here to support Stan the Man anyhow.

And I think it’s painstakingly obvious from this quote I found on the IT Tumblr— all credit goes to the original poster, this is NOT mine —that the Beautiful Enigmatic Nervously-awesome poet of the group is a straight ally:

That sums him up perfectly. He would say that. I can confirm. (And no, don’t start with the “bi women and their straight boyfriends” thing.)

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ocmakerofcanada · 2 years ago

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Here’s my sexuality headcannons for The Losers Club for my au ft. my OC

William "Bill" Denbrough - Bisexual

Benjamin "Ben" Hanscom - Straight Ally

Richard "Richie" Tozier - Closeted Pansexual

Edward "Eddie" Kaspbrak - Aesexual

Michael "Mike" Hanlon - Omnisexual

Stanley "Stan" Uris - Pansexual

Beverly "Bev" Marsh - Panromantic Demisexual

Kristiane "Kris" Perlman (oc) - Polysexual

#stephen king #stephen king au #stephen king’s it #stephen king’s it oc #oc #au #retold #sexualities #these are just my opinions #you guys can do your own headcannons if you like #but this one is mine

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spilled-almond-milk · 6 years ago

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Hot take:

Okay so we all know about the whole Manchester pride situation right?

Well if you don’t know the I’ll tell you. So currently Ariana Grande is under fire by a lot of the lgbtq community because of the fact that she’ll be performing at the Manchester pride fest and that the tickets being sold to even go to the fest itself are like hella expensive.

Well A lot of people are angry mainly at Ariana because she’s a straight cis woman who is gonna be performing at the fest (I’m pretty sure she’s the reason for such high priced tickets🧐idk) and people wanna see more lgbtq artists performing because I mean pride is for us and not just for ari cishet stands. So I read some articles and took to Twitter and here’s a response that like I kinda liked?

Also here’s the the whole thing Ariana wrote:

Long story short I still totally understand that a lot of people wanna see more of their own people performing like brendon urie or Troy Sivan but like I’m not gonna be at the Manchester pride fest so my opinion is decently invalid. Also the original users responses were like p valid

Anyways uh what I wanna say is that those that aren’t in the LGBTQ community in any way should not turn this into so cute little music festival where you and the girls get to point and stare at us ‘homos’, this is an event for those of us ostracized by the cishets to feel expected and comfortable. I go to these events because I’m surrounded by people that understand, people that encourage me to keep moving forward and people that are willing to just talk without looking at me because of my sexual preference, gender identity or race. So like if you ari Stan’s aren’t there to support us in any way then don’t attend. Please. Leave the tickets for those that need this. Leave them for those who want to support our community or are apart of it.

Also I get that ari is an Allie but like still understand where some of these people are coming from

#also like dont attack me for this okay? its called a hot taks for a reason #contriversial #ariana grande #pride festival #manchester pride #lgbtq #lgbtq community #rant #hot take

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magnetic-force-of-a-may · 5 years ago

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Now I See Daylight: Lover is Taylor Swift’s Brightest Glow-Up

I wrote a ~2,000 word review of Lover. I’m so proud of you @taylorswift buddy, and as someone who majored in literature, I always like to close-read and write about the art I appreciate. and I love love lover, and I hope you’ll like my review (skip to the last paragraph if it’s too long hehe). <3 @taylornation The musical event of my year transpired last night when Taylor Swift released her hotly anticipated 7th studio album, Lover. It’s Taylor’s 13th year in the game, my 11th year as a Swiftie, and we’ve both never been better. After dancing/crying/listening to Lover since last night, I’m finally ready to write my review of this triumphant, exuberant pop masterpiece.

It’s been a whirlwind past few months, from five holes in the fence to the star-studded, not-without-controversy YNTCD to the gorgeous title track that is “Lover.” As always, Taylor and her team have orchestrated a business-savvy album roll-out, complete with an elaborate, year-long, Easter Egg hunt. There is always much speculation about a Taylor Swift album, and a marketing campaign structured around clues is a smart way of creating the speculation, shifting listeners’ attention somewhere productive; in this case, re-watching the “ME!” music video over and over to catch all the eggs and amp up the video’s views. But to hear Lover in its entirety at the end of an Easter Egg journey is ultimately rewarding and intimate. “I am an architect, I’m drawing up the plans,” sings Taylor in “I Think He Knows.” The Lover era confirms her skills as a powerful architect; she builds speculation, constructs masterful bridges (she really went to “bridge city” with many songs on this album), and shows no signs of stopping.

The opening track, “I Forgot You Existed,” is an understated earworm that essentially bids the reputation era (and the Kimye drama of 2016) adieu. “It isn’t love, it isn’t hate, it’s just indifference,” Taylor shrugs. Vocally, the song has a colloquial quality; throughout, Taylor speaks, laughs, even trails off. It’s the equivalent of the throat-clearing that launched Track 1 of reputation, “Ready For It.” The first and essentially last song about “drama” on Lover, “I Forgot You Existed” clears the path for the 17 raw, emotional tracks to come.

The immediate next track, “Cruel Summer,” is an absolute pop-bop that immediately takes us to the higher register (Taylor in soprano-mode is sublime). It’s likely the next single (Tay teased the title in the YNTCD video and in a recent Amazon ad). This is the first song on the album that takes us to BRIDGE CITY—Tay practically screams “he looks up, grinning like a devil” in the bridge, and it’s amazing. We get to hear several New Taylor Sounds in this album, and it’s a lovely surprise each time. The trumpet(?) tease that opens “False God” and the way Tay sings “lo-o-o-o-ve” in the chorus prove that it’s all in the details. Structurally, the song staggers the lyrics in the chorus, such that each bleeds into the next (“Religion’s in your lips / Even if it’s a false god.” The religious imagery in Taylor’s past two albums is fascinating). Something similar happens, with even more syncopation (and brass!), in “It’s Nice to Have a Friend,” which is the grown-up, dreamier version of “Mary’s Song.” Speaking of the debut album, the way Taylor sings the bridge of “Cornelia Street” (“Barefoot in the kitchen…”) sounds just like the chorus of “Invisible.” Are these callbacks to her debut album coincidental? Knowing Taylor, likely not.

Indeed, many moments in Lover remind us that the old Taylor is far from dead, as she previously proclaimed in LWYMMD. "Miss Americana and the Heartbreak Prince” makes a direct reference to Tay’s song from the Hannah Montana movie (I looove “Crazier”), and in “Daylight” she sings that she used to think of love as being “burning red,” a lyric from “Red.” And Track 12 of Lover, “Soon You’ll Get Better,” is like Track 12 of Fearless, “The Best Day” (one of my all-time favs)—both are songs about Taylor’s mom, Andrea Swift, who is currently battling cancer. “Soon You’ll Get Better” is the album’s #1 tear-jerker, and features Andrea’s favorite band, The Dixie Chicks. It’s the closest thing to country on the album.

But on Lover, we are undeniably listening to a new Taylor who brings the storytelling traditions of country into the energetic world of pop. This Taylor writes about love from a stronger place of growth and self-confidence. You know that meme that goes, “I’m you but stronger”? That’s Lover to Taylor’s early discography. Tay’s confidence jumps out clearly in ME!, which was the first single Taylor released on 4.26 and honestly still one of my favorite tracks from the album (catch me yelling “HEY, KIDS! SPELLING IS FUN! on tour). I truly love Brendon Urie’s part in that song. Although “ME!”might have a reputation for being a “kids’ bop,” it channels a form of self-awareness that we also get on “Afterglow,” which is about a lover who understands her own flaws: “It’s all me, in my head.” Both “Afterglow” and “ME!” speak to the beauty and possibility of experiencing a storm with someone and recovering together afterwards, be it in the rain or in the light. It’s not just self-awareness that Taylor demonstrates on Lover, but also social awareness—this is the year she finally became vocally political, after all. “YNTCD” was her first LGBTQ anthem. Although some have accused Tay of “queerbaiting” (there’s always some flaw to pick out, isn’t there), the song is truly Taylor’s love letter as an ally to the LGBTQ community. Then there’s “The Man,” which slams the patriarchy by imagining a world in which Taylor is not a woman, but a man. “If I was out flashing my dollars I’d be a bitch, not a baller,” she sings. She also gives Leo Dicaprio a well-deserved roast; while Taylor’s dating life has received extensive scrutiny, tabloids don’t hate on “Leo in Saint-Tropez” the way they lambast Taylor for ‘serial-dating.’ “The Man” also sounds very much like HAIM’s “Forever” (“Dress” on reputation gave me HAIM vibes too). And I’ll forever stan Taylor x HAIM.

In Red, Taylor sings “Stay Stay Stay” to someone who later likely breaks her heart. Interestingly, the song on Lover that sounds like a musical echo to that track is “Paper Rings,” an adrenaline rush of a song about getting married. The song is another perfect 60s bop, and I love all the counting that happens in the song; it lyrically and spiritually channels the “you’re the only one I want” energy from Grease. “I like shiny things,” sings Taylor (we know) “but I’d marry you with paper rings.” And theother elephant-in-the-room song about marriage is of course “Lover,” which has literal wedding vows in its beautiful bridge. Of the three marriage-related songs on this album, “Lover” wins my heart (and it’s Taylor’s favorite song that she’s ever written, I hear). It’s a beautiful ballad that comes straight from the heart. Like the best Taylor Swift songs, it’s personal. We get straight to the time and place, like in “Cornelia Street,” the street on which Taylor used to live. In fact, the song’s melody seems to share the same musical pattern as “Delicate,” and some fans even speculate that the “third floor on the West side” from “Delicate” is on Cornelia Street. Another song is that is very location-specific is “London Boy,” which is a personal favorite for its allusion-heavy lyrics and catchy beat. I know that some Londoners are shaking their heads at the lyrics, but oh well—it’s a cute nod to Taylor’s current boyfriend of three years, Joe Alwyn, who (if you haven’t figured it out by now) is the inspiration behind many of the songs on this album. Another standout, should-be-a-single track is the aforementioned “Miss Americana and the Heartbreak Prince,” which demonstrates Tay’s exquisite, imaginative storytelling style and mastery of metaphor (“Getaway Car” was the masterful-metaphor song on reputation). I could really write a paper on these lyrics. The Guardian seems to think it’s about living in Trump’s America? It’s a song that, along with “The Archer,” is reminiscent of Lana Del Rey’s dreamy pop (although the latter, while lyrically lovely, has yet to totally grow on me). Taylor has long been outspoken about her love for Lana’s music (they also share a producer: the amazing Jack Antonoff). If this means that Taylor’s music is beginning to take on a slightly indie-rock quality, I’m not complaining. For instance, “Death by a Thousand Cuts” has a slightly Vampire Weekend-quality to it, especially with the freestyle piano tinkling that emerges towards the chorus. But it would be remiss for me to compare Taylor to other artists (although maybe this at least proves that I listen to other music hahahahahah). As she sings in “ME!”, she’s the only one of her(!), and Lover proves this to a T (see what I did there?). From the records it broke even before release day to the pop perfection we’re getting on every track, Lover is bold and brassy, and Taylor knows it.

A few months ago, Taylor wrote in an Elle listicle that she has learned to “step into the daylight and let it go.” That line has indeed revealed itself to be a lyric from the final track of Lover, “Daylight,” a 5-minute long song that beautifully closes the album. “I don’t wanna look at anything else now that I saw you,” sings Taylor to her lover. But she also ends with a monologue: “You are what you love.” For Taylor, to love someone is to also love yourself. And that message of self-love radiates throughout Lover.

Earlier this year, I read an article with the headline, “Sad Taylor Swift is the Best Taylor Swift.” While it’s true that artistic production does often come from places of suffering and heartbreak, Lover steps into the daylight and delivers songs on an album that is wonderfully bright. The album cover, shot by the talented Valheria Rocha, captures the softness and loveliness of this glow. In Lover, Taylor is not our heartbreak princess. And we don’t want her to be, either. She’s braver than “Fearless,” and she’s more than simply “Clean.” I’d like to argue that Taylor is at her best at her brightest, which is to say at her clearest and cleverest. She’s someone who shines, inside and out, in her music and in her life. The illuminating, skin-clearing grace that she delivers on Lover lights up my room. This review is glowing, and so is Lover.

#lover #taylornation #taylorswift #reverbnation

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