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POPGAF |OT-12| Welcome To The Mad House

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V

Vazra

irresponsible vagina leak
Blood Diamonds said:
AHHHHHHHHHHHH

TRASHZELIA BANKS JUST RELEASED A NEW
FUCKING

SLAY

USED TO BEING ALONE

774d7cd42f.gif
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Meh
 
M

MrV4ltor

Member
Ropesnake didn't even know what a fave was, so nothing of value was lost.
He was never going to deliver the kiiis, deal with it.
 
M

Matt_

World's #1 One Direction Fan: Everyone else in the room can see it, everyone else but you~~~
CRD90 said:
Joe Jonas' bands tragic cover of 'Work'.

Not for the faint hearted.
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fucking christ
gives me an appreciation for the original

You Know Nothing said:
http://noisey.vice.com/blog/white-people-maybe-chill-out-on-covering-beyonce-s-formation

#StopWhitePeopleFromCoveringWorkAndFormation2016
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eh I agree that white people should stay far away from covering Formation but just because Rihanna has found her accent doesn't mean that work should be off limits
though that jonas cover is certainly an argument for it
 
G

Garrett Hawke

Member
The latter, obviously

Charli will be like "is it okay if we push back the release by a week?" and then AB will tweet about how she's a label pawn and a stupid bitch
 
V

Vazra

irresponsible vagina leak
Garrett Hawke said:
The latter, obviously

Charli will be like "is it okay if we push back the release by a week?" and then AB will tweet about how she's a label pawn and a stupid white bitch
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Charli will use her Indian roots as counter defense then Azealia in a way to counter attack will say Charli smells like curry. Bookmark me.
 
M

MrV4ltor

Member
Mau ®;197337277 said:
Azaelia can't work with other women. There's something psychological rooted in her that prevents her from doing so.
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I'm shocked that anyone's still willing to work with her at this point.
Like, there's literally no reason to. It's not like she's some huge pop star whose singles will definitely go at least top 10. No exposure and you have to work with a huge cunt on top of that.
 
Y

Yado

Member
MrV4ltor said:
I'm shocked that anyone's still willing to work with her at this point.
Like, there's literally no reason to. It's not like she's some huge pop star whose singles will definitely go at least top 10. No exposure and you have to work with a huge cunt on top of that.
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she's talented and probably fun to be around
 
<+)O Robido O(+>

<+)O Robido O(+>

Member
In the wake of two amazing performances and two very different reactions, B & E dive into the criticisms, messages, and politics of Beyoncé and Kendrick Lamar.

Beyoncé v. Kendrick

Reading: https://tab.bz/3sb28

KENDRICK LAMAR’S GRAMMY PERFORMANCE AND IF BEYONCÉ WERE A BOY
Nevertheless, Lamar’s performance on the main stage was everything that is right about hip-hop. It was inspirational, powerful and political. It was bold and brash. It was Africa and African-American. It was very much conscious of the White gaze but also very defiant of it.

In short, it was a thing of artistic and political beauty.

However, what it did lack was much of the same criticism that Beyoncé received just a week earlier after she dropped “Formation” and performed at Super Bowl 50.

And I’m not talking about what White folks have to say. White folks always have something to say. And truthfully, getting White folks to react and say something is the ultimate point of these performances anyway, right?

But even among us (and especially among us) there was a lot of reaction, critique and criticism. I won’t list it all because I am certain you have read just about all of it (or, at least, glanced at the headlines). But within hours of the surprise video drop, folks had their evaluations already uploaded and circulating through social media.

We questioned her color politics and raised curious eyebrows over her choice to rock a blond weave while singing about Black being beautiful. We debated the appropriateness of using images connected to both the Black radical movement of the past and Hurricane Katrina. We analyzed each frame of the video and combed through each lyric searching for any nugget that proved or disproved how down she was.

We did all of this for one little song. Heck, folks, to this day, are still weighing in on the impact of both her words and the images used to go along with that one little song.
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Kendrick Lamar won’t face backlash like Beyoncé: Socially conscious art, sexual expression and the policing of black women’s politics

Last week, Beyoncé took to the Super Bowl stage and performed the arguably “blackest” song of her career, “Formation,” in which she pays homage to the Black Panthers, infamous for their denunciation of police brutality, and rejects the white beauty lens by celebrating her “negro nose with Jackson Five nostrils” and Blue Ivy’s “baby hair and Afro.” The morning after her performance, the Houston-bred icon’s exploitation of black resistance on the most watched program in the world was the hot topic. The superstar was taken to task for the employing her blackness in both the song’s video and her half-time show to drive her brand and businesses, as one writer on Huffington Post noted how “Formation” “…just so happens to be released on the eve of her Super Bowl guest appearance … and then there’s more … a new tour to spend your income tax refund check on!”

Last night, just eight days later, rap’s reigning conscious savior, Kendrick Lamar, took to the stage of the 58th Grammy Awards to perform a medley of his songs, including the anti-establishment anthem “Alright.” Lamar delivered a performance lauded for its unapologetic blackness. His performance, complete with the visual symbolism of prison uniforms, chains and African drummers covered in body paint, was an audio-visual condemnation of white supremacy — most notably, European beauty standards and police brutality. Since his and Beyoncé’s performances carried nearly identical messages, this morning I awaited the think pieces analyzing the Compton-bred lyricist’s exploitation of black resistance on music’s biggest televised stage. I have yet to see one among the dozens praising him. Meanwhile, the Huffington Post declared Kendrick’s performance “the only one worth watching,” while CNN raved about how the “fiery performance won Grammy night.”
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THIS WOMAN’S WORK: THE CASE FOR BEYONCÉ AND BLACK FEMINIST CRITICISM

Though the anti-police sentiments were similar and the foundation of celebrating black life was apparent in both performances, Beyoncé faced significantly more backlash and attempts to discredit her artistry for her approach. Upon reading the reactions of her performance and song, there was a clear message from many that showcased a lack of understanding about the black experience from the perspective of black women. More often than not, the black experience is based on the male perspective because the default framework of the United States deems the ideals of men as more pertinent. Those ideals present themselves within any of the patriarchal, capitalist, Christian, heteronormative standards prevalent to the fabric of this country. Even though black men benefit from that system, for as men they are sought after to portray a role of leadership and dominance in communities, their identity has been demonized, and dehumanized, to fit within that perception. It’s apparent through poor media representation, the prison industrial complex, and the profiling that lead to instances of police brutality. It is when black men, like Kendrick Lamar, speak out on the systems that they are victims of get applauded for their bravery and candor while when black women do so, it is criticized as divisive although they too are victims of the same oppression. Due to that one-sided propaganda of the black male experience, the presence and experience of black women then finds itself being misinterpreted, forgotten, or unknown. Knowing how the lens of the black American experience is viewed, it becomes more clear to understand how misogynoir plays a role in the confusion and ensuing chaos surrounding Beyoncé’s “Formation” and her Super Bowl performance.
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Beyoncé Works Hard
In the day between the release of “Formation” and her subsequent performance of the song at Super Bowl 50, Beyoncé confirmed that Sasha Fierce, the erstwhile alter-ego that guided her nightly transformation from shy Southern Christian girl to unparalleled global star, is no longer of much use to her. She now has Yoncé, the “Texas ‘bamma” who happily eats carbs and has shed the respectability politics that would once have stifled her from openly talking about the joys of fucking her husband, and possibly taking him to a casual seafood-chain restaurant afterwards. If Sasha Fierce’s glassy-eyed perfection earned Beyoncé the characteristic “robotic” trope for much of her career thus far—she was considered too polished, too guarded, too separate from the material she sings—Yoncé is the complete opposite: a fallible and emotional mother-wife-boss who is better than the rest of us not because she was born that way, but because she worked that much harder. I see it, I want it/ I stunt, yellowbone it/ I dream it, I work hard/ I grind 'til I own it/ I twirl on them haters. We would do well to remember that.
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The Prosperity Gospel of Rihanna
There is an anxiety for the image of propertied black women in general, of black women recouping historical debts. The interlocking machines of mainstream pop, rap music, and America are very much contingent on their devaluation. Anxiety mounts when the kind of property is pure cash money. Black girls with money are financially independent and visually, confrontationally untethered to men or to goods. It’s filtered through varying inflections of allegedly bygone puritanism: The black girl flaunting money is ratchet, the black girl with money bankrolled her way there through sex, therefore the black girl with money does not properly own it. Since the racist and the sexist are also by definition prudes, this black girl of their fantasy, no matter how tall her money, can never signify wealth, a sort of class ascendance that has as much to do with politesse in gender roles as it does one’s stock profile.

Meanwhile, Rihanna will pose with the fan of cash on Instagram, lick and stick the bills between her lips in the video. Nicki will walk out of restaurants with Meek Mill demurely carrying an unzipped bag stuffed with tens of thousands of dollars. Twenty years ago, Lil’ Kim, who may be owed the most, presaged the new millenium’s anxiety, a reaction redux as old as the country, with her double entendre: fuck niggas, get money. At the iHeartRadio awards in LA Sunday night, Rihanna transplanted Kim’s second meaning in performance, dressed in her saturated green furs and chill-girl wining against a dancer backdrop of whom none were men. Money doesn’t replace men, although one may fall in love. The tower of cash is less a phantom penis than an extra appendage, an expression of a bad bitch’s increasing girth against social enclosure. Cash collapses her image, her life, and her music in one.
Sprawled amongst her earnings, the moneyed black girl is an enlarged version of herself necessarily taking up the space of her debtors, she’s an image of material liberation. #BBHMM is Rihanna in situ. This loan shark’s bop makes storied materialistic references of course, to Louis XIII cognac and your wife in her foreign car, but you get the sense it’s her briefly becoming a meme of the club male ego that can’t tell breasts from wealth. Rihanna has always loved memes.
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