shoutout to everyone who puts up with my insanely varied interests (◡‿◡✿)
shoutout to the followers who have never spoken to me but stay (✿◠‿◠)
shoutout to the people I talk to every day and often rant to emotionally (◕‿◕✿)
shoutout to the people who I sometimes go weeks without talking to but then can message out of the blue and still adore just as much (✿☺‿☺)
shoutout to you (♥‿♥)
three cats are competing in a race. there’s an american cat named “one two three”, a german cat named “ein zwei drei”, and a french cat named “un deux trois”. the cats all swim across a lake. the american cat finishes first, the german cat finishes second, but the french cat is nowhere to be found.
because the un deux trois quatre cinq
IM LAUGHING SO HARD AT THIS JOKE IF YOU DONT UNDERSTAND IT I FEEL SO BAD FOR YOU
Love Me Harder (feat. The Weekend) - Ariana Grande
I’m sure a 5SOS fan could probably add tons more details to this, but here’s what I know.
On 6 Nov 2012, Louis tweeted this:
As is mentioned on their own wikipedia page, while they had been gaining steam and building a significant fanbase all on their own, this tweet significantly increased their international following.
Was that tweet just their lucky big break? No. A little bit of digging shows that it was a calculated move.
Backing up a bit, a month an a half prior a company called One Mode Productions Limited was formed. According to their publicly available legal filings, their declared business category is “Support activities to performing arts”
You’ll notice that their Board of Directors consists of Louis, and Liam as well as Will Bloomfield and Richard Griffiths from Modest. (Alan McEvoy, as far as I can figure is an entertainment lawyer or maybe accountant who likely set the company up and then “resigned” a week later)
In my googling, I also came across this page that shows not just the BOD, but the entire shareholder group for the company. And guess what? All five boys, both heads of Modest and Will Bloomfield are all shareholders in whatever properties this company owns.
So now the question is, what properties does One Mode Productions Limited actually own? Would you take a look at this!
So ok, at first glance, OMPL appears to own the 5SOS logos for merchandise. But when you click onto one of those more details boxes, You get a better view of the scope of what OMPL has an actual stake in, and wow, it’s a LOT, and it’s not just merch.
So did Louis discover them? Maybe, maybe not. They were clearly already “discovered” well before he tweeted about them. There are numerous reports online of the 5SOS boys finding out that Louis tweeted about them and them being surprised, which while cute is clearly bullshit. They had already set up a deal with One Mode Productions a month and a half before that tweet happened.
As for the question your question wondering if Louis has a financial stake in 5SOS? Absolutely unequivocally yes. In fact, all five boys have the same exact size share in them.
According to Companycheck.co.uk 5SOS LLP is owned jointly by the 4 members of 5SOS and One Mode Production Limited.
my life got about a thousand times better once i stopped censoring myself
and by censoring i don’t mean i suddenly embraced indiscriminate swearing; i mean i stopped trying to sugarcoat my past or my feelings; i stopped lying by omission; i stopped having guilty pleasures; i began unabashedly enjoying whatever i liked; i became very honest; i cut out of my life poisonous people and negative ideals, and i am so, so much happier for it
no one cares if you don’t like short hair on girls shut the fuck up
Taylor Swift’s Racism & “Shake It Off” Video
We clearly need to start a hashtag campaign at this point to #stopracistwhitegirls. Between Miley Cyrus, Katy Perry, Lily Allen and more, the mainstream pop bench is absolutely stacked with racist white girls galore at the moment. But in our 2014 “post racial” America where black people are getting killed every 28 hours by vigilante justice, where Mike Brown’s killer, Darren Wilson, is on paid leave for brutally executing an unarmed black teenager as we speak, and where police brutality against black bodies in Ferguson and across the country is the norm, it’s still so fun and uber cool for white girls to make blackness a costume! You know, since it clearly doesn’t get us killed or anything.
Enter Taylor Swift stage left.
[image description: Taylor Swift in a leopard print jacket with large gold hoop earrings, and cut of jean shorts with a gold chain posturing in front of twerking dancers]
So I’ll admit that I do have a bit of a penchant for bland pop music, and so I have followed Taylor Swift in varying capacities for many years. I understand that her entire image is carefully cultivated to exude innocent, bright eyed and bushy tailed white girl who is always “shocked” when she wins an award. I understand that the reason her image sells is because of the white supremacist patriarchal notion of the “cult of true womanhood,” where moneyed white woman had their femininity defined by 4 traits: piety, purity, domesticity, and submissiveness. It is in this mold that Taylor Swift has built such a massive following and sold so many millions of albums. Ascribing herself to these narrow values by which white womanhood is exalted and elevated in a way that is only accessible to white female bodies and not to WOC has been Swift’s “in” in the music industry more than anything else over the years.
But in the pop industry there is a constant need for reinvention and to push the boundaries ever further with each succeeding musical effort. Even as Swift has cultivated and carefully molded her image to fit this fairly rigid white supremacist patriarchal construct of white femininity and has made millions doing so, the constant churn of capitalism has made the appeal of her wonder bread white girl image fade with time. She needs some way to “spice up” her act and draw attention to herself along with it. As bell hooks so brilliantly says in her cultural criticism & transformation:
There’s a way in which white culture is perceived as too “wonder bread” right now—not edgy enough, not dangerous enough—let’s get some of those endangered species people to be exotic for us. It’s really simply a more up-scale version of primitivism resurging. When blackness is the sign of transgression that is most desired, it allows whiteness to remain static, to remain conservative, and it’s conservative thrust to go unnoticed.
And so, with this in mind, Swift like so many white girls and boys before her, turns to blackness to find that “exotic” flavor to give her bland image the kick it needs.
What strikes me about the “Shake It Off” video is just how true to form it is with all of the other racist music videos we’ve seen from white women in the past year alone. “Hard Out Here,” “We Can’t Stop,” “23” and more, white girls have been on a roll with their racism and racialized misogyny and Taylor Swift couldn’t wait to join the party.
[image description: Taylor Swift in a red hooded jacket, holding a boom box and wearing a fitted cap in front of black and Latino break dancers]
In one scene from the video we have Taylor Swift dressed as a b-boy with a fitted cap and all, in a brazen and blatant act of cultural appropriation. We all know that the b-boy tradition comes from black and Latin@ youth who get demonized and criminalized daily and who are not able to breakdance without facing harassment from the police. But Swift, drenched in her white privilege and concomitant myopia has no sense of how insulting it is to slip this on as a fun “costume” for a few seconds in her video, as she can always retreat back into her whiteness unassailed while the black and Latin@ breakdancers in her video cannot.
The most disgusting part of the video, though, came, as usual with the twerking scene. White girls just seem to love to throw in a twerking scene into their videos these days.
[image description: Taylor Swift in a leopard print jacket and gold earrings and chains crawling in between the legs of several twerking dancers and staring up at the butt of a twerking black woman]
This is different from the “Anaconda” video, where black women have agency and control of their sexuality and bodies. Instead, just like her racist white counterparts (namely Miley Cyrus and Lilly Allen), Taylor Swift makes twerking and black female bodies a spectacle before the white gaze. Particularly as she walks between the legs of her twerking dancers and pauses at the black woman in the group and gapes astoundingly at her ass, the white gaze is centralized. In this scene black femininity is clearly exotified and demonized in an animalistic contrast to her conservative white femininity that can gape “shocked” at what she’s witnessing (which black women have literally been doing for centuries). This is white feminism at work, which perpetually ignores crucial intersections of race and gender, and to add insult to injury the scene ends with Swift giggling and looking bashfully at the ground, reifying her innocence and white privilege in the spirit of the cult of true womanhood. These are constructs which black women and other WOC do not have access to due to their race, and which Swift gleefully reinforces with this imagery.
This entire scene is a blatant example of primitivism and misogynoir (racialized antiblack misogyny) in the spirit of the spectacle that people made out of the body of Saartjie Baartman.
[image description: Caricature cartoon image of Saartjie “Sarah” Baartman, the “Hottentot Venus.” She is scantily clad with a spear, very large buttocks and her large breasts exposed as well with a white Cherubim alighting on her buttocks]
In case you are not aware, Baartman was a Khoikhoi South African woman, who was brought to Europe in 1810 where she was subsequently paraded around as a freak show with the “exotic” features of her black female body—her butt, breasts and elongated labia— as the main event. Racist caricatures of her body were made, including the famous cartoon above. After her death, her skeleton, preserved genitals and brain were placed on display in Paris’ Musée de l’Homme until 1974. Her remains were not returned to South Africa until 2002 when she was finally reburied near her home town over 200 years after her birth.
In this video, Swift, like her racist white pop counterparts, taps into the racist traditions that we see in the dehumanization of Baartman. This is absolutely unacceptable. Black female bodies are not foreign, exotic, alien lands for your debasement in a cheap pop video for mass consumption. Black women have agency and deserve humanity and respect. Nobody cares if the dancer was “okay” with being in the scene or not, what we care about is the imagery being produced which enshrines white femininity as the standard and strips black women of agency rather than giving homage and due respect to them (as we see in Rihanna’s “Pour It Up” video, Nicki Minaj’s “Anaconda” video and more which centralize the black female gaze).
But, if we didn’t know before, we’ve learned in the past year that Swift and all of these other white pop stars are simply shameless. They don’t care. We critique and point out their racism and racialized misogyny and they throw out obtuse comments about how they actually “really love black people” and “have black friends,” you name it, rather than accepting the problematic nature of their work and just apologizing. This is white supremacist thinking in action, as the only emotional universe which matters is that of the white individual in question and not that of the black people who object to the debasement of our bodies and commodification of aspects of our cultures in videos like this. And we see the impact of all of this in the thinking of their fans who myopically follow their stars and don’t realize that they can be fan while still being critical of the actions of their favorite pop stars. It is unacceptable that Swift can shamelessly appropriate from b-boy black and Latin@ culture, parade herself around as a faux-black woman and then exotify and degrade black female bodies for mass consumption in her videos. And it’s so important that we call videos like this out, and demand accountability from artists who put out degrading videos like Taylor Swift just did with “Shake It Off.” #stopracistwhitegirls2k14
In honor of back-to-school.
I’m still obsessed with this, in case anyone was wondering.
sometimes i like to sit down and think about all these other times bucky told steve "no, not without you"
steve is sick and so s o tired and he feels so cold and for a few terrifying hours they think this is it, this is the end. delirious with fever and fear, he turns to bucky who is in the bed right next to him—no matter how many times steve warned him about catching the same shit steve is at war with—and tells him, his voice made low and rusty by too much coughing,
you’ll be happy, right? if i— if i— bucky—
shut up, bucky replies sharply, shut up. you’re not going to die, shut up.
but you have to, steve counters, pressing, you have to—
no, bucky cuts him off again. not without you.
and his tone is so final, steve knows he’s telling the truth. so he has to live, he has to be okay. bucky would be devastated. they’ve already lost so much, so many people. they’re all the other has, and steve tries to imagine what it would feel like if the situation was reversed—life without bucky, oh, oh—and he shudders in horror. his best friend plasters himself all over steve’s frail frame, thinking he’s cold again.
in the morning, steve’s fever is down.
or you know, it doesn’t have to be tragic. it can be that one time—one of many—where bucky invited two girls to tag along for the afternoon. there’s a gorgeous blonde, all curves and smiles, and a petite brunette with pretty eyes, and both look at bucky like he’s the sun. steve won’t blame them, he knows the feeling. it’s clear neither of them wants anything to do with him though, so he grabs his best friend by the sleeve of his jacket and tells him he should go and have fun, he’s okay, he’s feeling a little under the weather and he’s going home.
bucky stares at him, confused, before shaking his head.
no, not without you.
or when bucky stumbles into the miserable small room they share, grinning like a goof, and announces he found a better place, and he can afford it, and that’s wonderful, right steve? and steve smiles sadly and congratulates him and sighs and says i suppose i can pay the rent here by myself, if i get that job at the newspaper.
and bucky chuckles, what? steve, no. it’s for both of us, christ, i’m not going without you!
and it’s like that all the time. together or not all, bucky laughs, like it’s nothing, like it’s not the deepest bond and the most meaningful promise. a promise he breaks when he leaves for europe with the 107th and leaves steve behind, but that’s another story, that’s not bucky’s fault. he can’t exactly tell his country no, not without steve.
and i like to believe that’s why steve doesn’t argue and jumps across a goddamn fire. because he knows these four words, he’s known them all his life. he knows what they mean coupled with that stubborn expression. when he says not without you, bucky means it.
so steve jumps, so they can both live.