Nicki Minaj partner

Nicki Minaj partners with BRON Studios and HBO to Announce New Docuseries

2020.11.20 19:36 BRONStudios Nicki Minaj partners with BRON Studios and HBO to Announce New Docuseries

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2020.11.20 19:34 BRONStudios Nicki Minaj partners with BRON Studios and HBO to Announce New Docuseries

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2020.11.07 15:32 SexyElf77 CMV: If Amber Heard were a black woman she would never get away with her false accusations

First off let me start by saying I believed Heard at one point. We all did, back when Depp literally has nothing to say because how few people would believe him it was easier to believe the crying girl during a time of sexual assault and abuse awareness.
If Heard were not white, however, and if Heard were black especially, I feel like there’d be more skepticism. Like imagine of someone like Nicki Minaj, Lizzo, or Cardi B (Before we learned about her drugging people of course) came out at said that their partner was abusing them. We are more likely to view black female celebrities as sluts basically, hearing about a black women being “Violated” strikes less nerve than hearing about a white woman being “Violated”, naturally.
Unless your country literally has no white people in it or despises them like some places in Asia or Africa. Even then those feelings come from white colonists coming to, among other things, degrade their women in place of white women.
As a country with an extremely racial history this is true, even outside the US plenty of the same stereotypical views about ethnic groups are held. We see how well the accusations against Chris Brown went considering his partner(s) were likely black women.
White women hold a position of value over most colored women, which gives them the ability to lie about a colored man “Raping” them and get them lynched. You could drown your two sons and get away with it by blaming random black men for it, permanently ruining their lives. Simply dying would lead people to electrocuting a 14 year old black boy for looking funny.
It’s not surprise that this level of privilege that white women have would eventually allow them to pull the same shit with other white men. And I’m sure this has happened a hundred times to less privileged men before it got to Johnny Depp.
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2020.10.16 01:38 Nonstopas Throwback Write-Up #23: Eminem - Relapse

Artist: Eminem Album: Relapse
Streaming: Spotify Apple Music Tidal
Album Background: The years before Relapse
It’s 2009. Lil Wayne and Cash Money associates such as Drake and Nicki Minaj are starting their rise to fame. The number 1 most rated album that year was Only Built For Cuban Linx pt. 2 and hip-hop as a genre was definitely at a standstill in terms of new genre and uniqueness.
It’s been 5 years since the last studio album from Eminem. Encore, his last studio album released in 2004 didn’t do as well as the previous album, an all-time classic: The Eminem Show. Relapse was met with generally negative to mixed reviews, even considered a slump, and a fall off for Eminem. Encore was just a glimpse of what’s yet to come. Tracks like Fack from Curtain Call:The Hits, as well as the leaks that were recorded during the hiatus, which were meant to be included in his final studio album King Mathers, did not show anything promising at all. In those 5 years leading up to Relapse, Eminem was perhaps in the real rock bottom of his career and personal life. Marshall, unarguably fell-off from the all-time highs of his career as an artist, his music was starting to lose momentum, his drug addiction was entering the dangerous territory, and the worst hit came from his friend Proof being shot outside an after-hours club in Detroit. Eminem also had a 2nd divorce with his wife Kim after being re-married for only eleven weeks. Eminem is not an ordinary rapper. He is a man who became a hip-hop legend in just short 5 years with one of the un-deniably greatest peaks in hip-hop history. It seemed like it was the end of the story of the hip-hop behemoth Slim Shady, as everything in his life and career was falling down like rubble of an empire that once was.
Yet it wasn’t the end.
Introduction: The comeback of Slim Shady
After completing one of several attempted 12-step programs to control his drug abuse, Eminem began recording major parts of Relapse in late 2007 to early 2009, with Beautiful being the only exception, which was also the only song recorded before he became sober, and later on was finished with an added verse after he became clean for drugs, that was a small hint of optimism in an otherwise depressing song.
In 2009 the first official single of Relapse hit the radio. We Made You was in the list of fun/goofysingles that we got from Eminem even before the hiatus, such as: Without Me, The Real Slim Shady, My Name Is and Just Lose It. And it did succeed in a way, but the single did not really give us an idea of what Relapse will truly be, apart from the small glimpse of the accents, but I believe nobody really paid attention to that as the song was meant to be a tongue in cheek and more on the fun side, just like the songs that came in the earlier years as mentioned before.
Throughout the years the album has received a lot of slack. And some of it is very obvious why. The accents. The number one problem stated by rap critics and listeners is the accents as well as the subject matter. Many people did not like a horror-core album in 2009. However, no one seemed to have a problem about the impeccable production, or about unique flows or the content. It was about the accents. If we look past that, Relapse is probably the most unique album Eminem has ever made. It is almost entirely produced by Dr.Dre, a long-time partner-in-crime, something that we never heard before or since Relapse. It is the main reason why musically it is just magnificent.
Back in 2008, Dre was still working on Detox, and compared to his output musically now, his production was still not as dated and sounded great and somewhat fresh, and exactly what Eminem needed during this time of his life. A dear friend, a producer with whom he had great chemistry and who understood Eminem’s recording process. I personally, cannot think of a single song which had a bad production on this album and it shows Dre's longevity in the game, and how well it ages. It is also quite consistent because of the reoccurring serial-killer and drug abuse/relapse theme.
10 years later, I find myself returning to the album quite often, as it is a gold mine for underrated Eminem songs, and lines that slid right past me when I was listening to it for the first time.
The aforementioned themes, however, do not make Relapse an easy listen. It’s not something you can put on a warm summer’s day or a cozy winter night. It is not an album you bump with your windows open, and it is not something you listen before sleep. Relapse is something else, completely. It is an album that you put on during a dark, rainy night, when not everything may be going the way you want it to, and when you just want to escape the grim reality, to an even grimier one, where you are not the main character. And that’s why this album resonates so much with me. The dark atmosphere that surrounds Relapse just as it was surrounding Eminem during his darkest of times. When I listen to Relapse I always imagine entering Eminem’s mind during his recovery from drug abuse. Relapse is what nightmares and the fight against addiction sounded and felt like.
This album was necessary for Eminem to not only come back but also to move on forward in his career. He had to get all of that shit that was inside his head out so he could continue where he left off half a decade ago, and even move past it, as said by Eminem himself in an interview: “With this album, the concept of relapse was obviously a double entendre. As in, literally relapsing on drugs and also relapsing back into Shady. I heard a lot of comments when I was away. A lot of people said, “When Em comes back he’s gotta reinvent himself.” I didn’t feel like I needed to reinvent myself. I feel like I needed to just go back to what got me here in the first place: just rapping about the craziest, most outlandish shit.”
In almost 11 years since it was released, Relapse has became some-what a Cult Classic and even considered as one of the best Eminem albums right after the legendary trio of SSLP - MMLP - TES.
Favorite track review.
Due to time constraints and not to make the write-up too long i decided to cut the full tracklist review into my personal favorite song review.
The album is opened up with a skit. It suggests that Eminem is now clean and struggling the temptations of drugs. Constantly fighting his demons. The opening track 3 A.M is pure horror core. We instantly hear Eminem using his accents. In my opinion the song is good at telling a story and showcasing Em’s new, refurbished flows. But that can be said true about almost any track on the album. However, just like Eminem himself said, 3 AM does indeed depict of what the whole album is about, therefore it is definitely a great opening track, setting the tone to what is yet to come.
You’re walking down the horror corridor.
With the haunting first drum claps and an intense rhyme scheme:
You're walkin' down a horror corridor
It's almost four in the mornin' and you're in a
Nightmare, it's horrible, right there's the coroner
Waiting for ya to turn the corner so he can corner ya
You're a goner, he's onto ya
Out the corner of his cornea, he just saw ya run
All you want is to rest 'cause you can't run anymore, you're done
Eminem greets the listener with an element of surprise that is quite well known for fans, however it was never done in such a distinctive way. Most of Em's albums leading up to Relapse started of with more accessible tracks like My Name Is, Kill You and White America.
If you put yourself in a shoe of a 2009s rap listener, this Eminem is not something you would have expected. The weird accent, the beat and the rhymes are more intense than ever, they might have even been confusing and somewhat disappointing to you at the time, because what we really wanted was that old Eminem over something more innovative.
Eminem starts painting you vivid pictures. If the intro track 3 AM didn’t hook you in, then this track absorbed you into the mind of a twisted drug addict, full of psychotic, dark images. Sometimes it’s tongue in cheek, the bars expressed are dark yet hilariously haunting.
Here, want a snack? You hungry, you fuckin' brat?
Look at that, it's a Xanax, take it and take a nap, eat it
But I don't need it — "Well fuck it then, break it up
Take a little piece and beat it before you wake Nathan up"
Alright Ma, you win, I don't feel like arguin'
I'll do it, pop it, gobble it and start wobblin'
Stumble, hobble, tumble, slip, trip, then I fall in bed
With a bottle of meds and a Heath Ledger bobblehead
One of the most interesting things about this album is how slowly Eminem makes all of the fucked-up shit about his life start sounding normal. A drug addict mother feeding her son valium for breakfast is just the second track of the album, yet we start understanding that this album is going to be something else. After almost 11 years after the release we can start appreciating these songs as sort of a rant to a psychiatrist, where Eminem digs deep into his problems in his early childhood days.
Because my mom loved valium and lots of drugs
Throughout his career Eminem had talked about his problems with his mom, about never having a father, about how he was raised and what it led to. However, he never did it the way he explains it in the song My Mom.
Valium was in everything, food that I ate
The water that I drank, fuckin' peas in my plate
She sprinkled just enough of it to season my steak
So every day I'd have at least three stomachaches
Marshall's relationship with his mother has always been somewhat complicated. He was never afraid to critique his upbringing, but the song really show's us how fucked up his childhood was. I think one of the reasons why I find the song My Mom so interesting is because how effortlessly and somewhat relaxed he's telling all of this traumatic shit. But at the same time, that was always the appeal of Eminem: the ability to express things that others were too afraid to say, in ways that others have never done before.
You can be a permanent fixture in my lyrical mixture
As bagpipes start blowing and quite possibly the hardest hitting beat on the album starts, we get a little taste of the classic Eminem back on Bagpipes from Baghdad
Locked in Mariah's wine cellar, all I had for lunch
Was bread, wine, more bread, wine and Captain Crunch
Red wine for breakfast and for brunch
And to soak it up, an in-between snack, crackers to munch
Mariah, what ever happened to us?
Why did we have to break up?
All I asked for was a glass of punch
You see, I never really asked for much
I can't imagine what's going through your mind after such
A nasty break-up with that Latin hunk
Luis Miguel, Nick Cannon better back the fuck up
I'm not playin', I want her back, you punk
This is Hello Kitty bedspread, Satin Funk
Mixed with Egyptian, with a little rap and punk
Zapp and Eric Clapton, Shaft, Frank Zappa, crunk
And yeah baby, I want another crack at ya
You can beat me with any spatula that you want
I mean, I really want you bad, you cunt
Nick, you had your fun, I've come to kick you in your sack of junk
Man, I could use a fresh batch of blood
So prepare your vernacular for Dracula acupuncture
The song Bagpipes from Baghdad was the start of Nick Cannon – Mariah Carey - Eminem beef triangle. Eminem has not had many great attempts at his career as an MC, many of the shots taken at him back in the day failed to even hit the target, but It definitely seems like the most fun he has had was with the Mariah Carey beef. On this song Eminem managed to throw a few shots at both Nick and Marriah, that later led to the classic diss track The Warning, which also happened after Mariah dropped a video with Eminem diss. I think that this song was one of the few instances in this album where we had a glimpse of the old Em with a twist of what is yet to come. Yet to this day, the track feels somewhat fresh, as Eminem's flows used in the album have held on better than his latter works.
Yeah baby, do that dance It's the last dance you'll ever get the chance to do
Same Song and dance may not be a standout track for many, but this song is just a pure example of Eminem’s ability to create vivid stories, that just make you feel uncomfortable. I like this track so much, because it is just a story from a horror movie, except that it all rhymes perfectly. This song is a perfect display of why Em is one of the greatest lyricist of all time. Not many MC's are able to develop a story, full of twists, while almost perfectly rhyming most of the verse.
I was hooked in at the first glimpse of them buns
Seen her backstage, now here's where I come in, son
Look, here she comes, I better pull out the big guns
Hello Lindsay, you're looking a little thin, hun
How 'bout a ride to rehab? Get in, cunt
But starting off on the wrong foot is what I didn't want
Girl, I'm just kidding, let me start over again, hun
See what I meant was, we should have a little intervention
Come with me to Brighton, let me relieve your tension
You little wench, ya, murder wasn't my intention
If I wanted to kill you, it would've already been done
Slowly she gets in and I begin to lynch her
With 66 inches of extension cord
Soon as my flow starts I compose art like the ghost of Mozart
Stay Wide Awake is by far the most complicated, and incredibly song Eminem has ever released. It is a long time fan favorite, and a huge cult-classic behind lots of old listeners. Tyler, The Creator even stated this song as one of his biggest influences on his early style. So what makes Stay Wide Awake so good?
Fe-fi-fo-fum, I think I smell the scent of a placenta
I enter Central Park, it's dark, it's winter in December
I see my target, put my car in park, and approach a tender
Young girl by the name of Brenda, and I pretend to befriend her
Sit down beside her like a spider, hi there girl, you mighta
Heard of me before, see whore, you're the kind of girl that I'd a–
-ssault and rape, then figure why not try to make your pussy wider
Fuck you with an umbrella then open it up while the shit's inside ya
I'm the kind of guy that's mild but I might flip and get a little bit wilder
Impregnate a lesbian, yeah, now let's see her have triplets, and I'll di–
-sintegrate them babies as soon as they're out her with formalde–
-hyde and cyanide, girl, you can try and hide, you can try to scream louder
No need for no gunpowder, that only takes all the fun out of
Murderin', I'd rather go vinn-vinn, and now you see just how the
Fuck I do just what I do when I cut right through your scalp, uhh
Shit, wait a minute, I mean skull, my knife seems dull, pull another one out, uh
The first verse is one of few songs in Eminem catalog that rhymes perfectly, with so many integral rhymes, that also manage to hit the beat at the same time. While doing all of his magic flow rhyming, Eminem also manages to portray yet another horror story, about guess what… Rape and murder! Classic.
Soon as my flow starts I compose art like the ghost of Mozart
Even though they all say that they're real, I know that most aren't
Boy, you think you're clever, don't ya? Girl, you think you're so smart
Come with me to another side in a world so cold and so dark
With the bridge, Eminem fully invites you to join his dark, murdering, raping, screaming, fantasy of an album. We are in for a ride.
Where's the flames there's chronic
Old Times Sake is a really fun track, with Dre and Em going back and forth, well, for Old Time's Sake of course! This track is just generally well made track, i would not necessarily say it is a standout of the album, yet a personal favorite, since it has been so long since we had an Eminem and Dre collab back then and even now. I feel like the song displays both of their personalities and friendship very well.
Mommy, something's wrong with dad i think
Déjà vu perhaps the best of not one of the best songs of the album and overall in Eminems career. Here, he gets a bit more personal, ditches the accents and goes deep inside his battle with addiction, how it affected his family and how the last 5 years before the album felt like. This is Eminem at his most vulnerable, yet the track is what the fans needed very much at the time, to know what exactly went in Eminems life during the time away from fame.
So I take a Vicodin, splash, it hits my stomach, then (Ahhh!)
Couple of weeks go by, it ain't even like I'm gettin' high
Now I need it just not to feel sick, yeah, I'm gettin' by
Wouldn't even be taking this shit if DeShaun didn't die
Oh yeah, there's an excuse; you lose Proof, so you use
There's new rules, it's cool if it's helpin' you to get through
It's twelve-noon, ain't no harm in self-inducin' a snooze
What else is new? Fuck it, what would Elvis do in your shoes?
Now here I am three months later, full-blown relapse
"Just get high until the kids get home from school, homes, relax"
And since I'm convinced that I'm an insomniac
I need these pills to be able to sleep, so I take three naps
Just to be able to function throughout the day, let's see
That's an Ambien each nap, how many Valium? Three?
And that will average out to about one good hour's sleep
Okay, so now ya see the reason how come he
Has taken four years to just put out an album, B
See, me and you, we almost had the same outcome, Heath
'Cause that Christmas, you know the whole pneumonia thing?
It was bologna, was it the methadone, ya think?
Even tough Em did not get rid of accents for this song, his some-what relaxed delivery of these horrible events of his life make the track very hard hitting. It seems like Eminem was at a point in his life where he knew that all the fucked up shit he was doing is not good for him, yet he could not quit it, he simply did not care. And this track is the pre-epitome of what happened during his 2007 OD. Eminem nearly died after taking ‘equivalent of four bags of heroin’ before pal Elton John saved his life.
**Feel your pain, you feel mine
Go inside each other's minds
Just to see what we find
Look at shit through each other's eyes
Perhaps the most normal song, a definite fan favorite, and overall an amazing track, Beautiful, is the only track on the album that was recorded during his hiatus on drugs, and was finished latter on, after becoming sober, and adding a more light-hearted optimistic verse to the album.
Beautiful is a very personal song for Eminem, as many of the songs on this album, yet at the point in time, while listening to this song it felt nice hearing this old Em back, even tough a bit less cocky, funny and crazy than usual.
Paul Wall is dope, and so is Bubba
My Darling is a great song on so many ways, with such a weird off-beat intro to the album, a diss/homage to Paul Wall, and that weird transition. It's quite hard to say what makes this song an interesting listen, but i think it's definitely up there with one of the best Eminem tracks out there.
You remember that night you prayed to God
You'd give anything to get a record deal? Well, Dre signed you
This is what you wanted your whole life, Marshall, right? Ooh
Look at this house, look at these cars: they're so nice, woo!
Oh, but you didn't know fame has a price too?
That you just now seeing the downside to
Lose your best friend from high school, your wife too
Ain't even sure if your kids like you
Come off tour, can't even sleep at night without NyQuil
Become a Valium addict, start a rehab cycle
But together we can break the cycle
Marshall…" — What?! — "No one's gonna love you like I do"
My Darling, the darling means the Slim Shady persona. The song is about a constant battle between the alternate persona that Eminem always showed us throughout his career. During his struggles and controversy it used to be that it's "Slim Shady who said that!" and the more political stuff was more out character. It's funny to look at Eminem and his career as a separation between 3 different personas, and in the earlier albums it used to be very clear when and what persona is used. Personal is Marshal himself, political is Eminem, and Bat-shit insane is Slim Shady. Yet this song shows an example that really, as it should be, there is no difference, it's all Eminem.
Conclusion
The 6th studio album by Eminem is perhaps the most controversial in terms of general opinion. At first it was greeted as a return of Slim Shady, but later people realised that one thing they don’t like about the album is also everything that makes that album unique. Eminem has stated that after getting clean from drugs he had to re-learn how to rap again, Relapse’s accents are the byproduct of this. Even when you look at Eminem's early Relapse era recordings of live performances you can see how awkward he used to look on stage, compare to a completely dominate stage presence in the early 2000s. The accents come from a voice inside. Eminem had to find away to connect the rhymes he thought about constantly, and frankly this murderous, psychotic killer persona is something that let him achieve this. On the other hand, songs like Beautiful, Deja Vu, Underground and Careful What You Wish For shows us that he was still capable creating songs on par to his earlier work and even exceeding it.
So why, besides the accents and the murderous persona is Relapse so unique? In my opinion the little details add up to this albums uniqueness, such as the “Devil Slim Shady” voice that you can hear echoing in My Darling and a few other songs. Also, this album was perhaps the first and last time where an album was mostly Dr. Dre’s produced, and to this day i think the as many other Dre produced tracks, Relapses beat’s still sound somewhat fresh. It also captures a significant turning point of Hip-Hop. The start of a new decade meant a whole new sound will emerge very soon, and Eminem was one of the last OG's who where still releasing music at the time, but it was not the same quality as his last albums. The same problem was encountered by Nas, JayZ and even 50Cent who had an insane run a few years back. 2009 was the year Hip-Hop stopped, and later on it started to shape into a genre that we all know now. Relapse and Recovery were all made right before streaming became popular, and Eminem was still huge on physical sales, outselling everyone he competed with.
Now talking about general track lists, personally, my absolute favorite of the album varies. For the past year or to i feel in love with My Music Box from Refill, which i consider a part of one big project that i didn't have much time to discuss. The sweet, child-like harmony before the beat drops is as incredible as the vivid pictures that Eminem paints in his verses.
He’s dancing with carcasses... i guess a modern day jack the ripper is all that i am.
Relapse is an important album for me as it sort of a guilty pleasure, that i got hooked on back in 2008, when i evidently rediscovered it after a few years of not listening to rap at all. Back then i wasn’t keen or trying to find everyone’s opinions about albums or music in general. Everything was left to my imagination. As English is not my native language, to this day, 10 years later i find bars and mentions that i never used to get.
With all being said, i still strongly stand besides my statement that Relapse is the most unique album Eminem has ever released. It perhaps has the best production out of his whole discography. It became a cult classic after all these years and it also reminds us of a similar time not so long ago, where an album full of rape and misogynist, sexist and homophobic lyrics could have went platinum. I like to imagine Relapse as one long nightmare Eminem once had during his recovery from addictions.
Let's discuss.
  • How has your opinion about the album changed after 10 years since it's release?
  • Where does release stack up in terms of discography in Eminem's career?
  • Does Eminem's latest output put Relapse ahead, or behind? *
  • What are your personal favorite songs or bars out of the album?
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2020.10.06 15:53 jiminspinky Should Billboard change chart rules when it comes to counting sales (Hot 100)? What are some changes that should be made?

This is a topic that makes me wonder a lot lately because every announcement about Hot100 chart positions is just full of people complaining about how Hot 100 counts sales. But here's the thing - I'm not sure what could be a way to fix it and why people argue about some aspects that are already ok to me. I have seen a lot of complaints but not that many explanations or suggestions on how to fix the situation or why the situation is bad in itself.
Disclaimer: The examples I'm going to give are just the ones that have been widely discussed lately and I could easily find thanks to google searches. Instead of discussing the artists themselves, I'd prefer everyone to focus on different strategies artists/labels/PR teams use and have used for charting. For most of these examples I could instead put someone else and it wouldn't change much. I also encourage you to not use vocabulary that suggests that fans or fandoms are stupid/easily manipulated for buying music.
A reminder of some of the recent Billboard Hot100 changes + some things for consideration:
- Billboard “has decided to eliminate the practice of counting albums bundled with merchandise and concert tickets on its album and song charts altogether". (source 1)
I think bundles were a thing that always personally bothered me so it's interesting to see some changes but also not that much has changed if someone has a smart strategy.
Billboard adjusted its bundling rules so that merchandise/album bundles would have to cost at least $3.49 more than the merchandise (because $3.49 is the minimum price of an album to qualify for the charts). Billboard now writes that those measures “have fallen short of the intended goal of accurately reflecting consumer intent.” (source 2)

All albums bundled with either merchandise or concert tickets must be promoted as an à la carte add-on to those purchases in order to be counted on the charts (i.e. a separate item added to a shopping cart on its own). Those included as part of a baked-in, single-price option (along with the merchandise or ticket), with the album cost undisclosed to the consumer, will no longer be counted. It is Billboard’s belief that the resulting charts will more accurately reflect consumer choice. (source 1)
Effective immediately, Billboard will no longer approve any new album/ticket bundle offers. As for merchandise/album bundles, beginning Oct. 9, no further sales of albums can be reported if bundled with merchandise, even if the album and merchandise are available à la carte
A pretty smart strategy used for Franchise sales:
Travis trying to secure that #1 debut. $10 promo tees and discounted CDs with the purchase of a shirt. Also free shipping over $20 and the other items are suggested when you’re checking out. (source: a random tweet which explained it the best to me)
- Billboard announced that they won't count sales if they are shipped late on purpose.
Billboard will no longer allow sales of physical albums or singles that are bundled with digital downloads to be reported as digital sales. [...]
The practice of selling vinyl, CDs and other physical releases that won’t be manufactured and shipped to consumers for weeks or months -- while offering a digital download that can be redeemed instantly -- has become widespread as of late, with artists including Justin Bieber, Ariana Grande and 6ix9ine all recently using the tactic to boost their chart positions. (source 1)
- Several album versions
According to Swift’s label, Republic, “Folklore” sold 1.3 million copies around the world and had 80.6 million streams on Spotify in its first 24 hours. Swift’s opening-week number will also be helped by an array of retail deals on her website, including some 17 versions of the album on physical formats — eight CDs, eight vinyl LPs and even a cassette. (source 3)
For more examples, a lot of k-pop artists have multiple versions, Stuck with U also has three different cover versions for cassettes and vinyls (Ariana's site).
Not sure how to comment on this one. This is mostly a strategy for album sales, not for singles but I know a lot of people complain about this and maybe some people have better examples so I'm mentioning it.
- Remixes
Helping "Dynamite" in its second week of availability, "Poolside" and "Tropical" remixes of the song were released Aug. 28 and sale-priced to 69 cents during the tracking week. They joined the original version, EDM and acoustic remixes and an instrumental version (also each sale-priced to 69 cents during the week), released Aug. 21. (source 4)

That’s four official versions of “Old Town Road,” each of which has been listened to millions of times. But on the Hot 100, you’ll only find the song’s name once. That’s because Billboard counts remixes, as long as they meet certain parameters, as a single entity with the original song. “It’s case by case,” says Hot 100 chart manager Gary Trust, who stressed he was speaking broadly about the decision process. “But in general if it’s similar in lyrics, music and production, they’re rolled into one.” Which means the combined hundreds of millions of listens from the four versions of “Old Town Road,” two of which add new verses by the featured artists, have all been pouring into the same bucket. (source 5)
Remixes aren't exactly a new strategy. Lady Gaga in the past made 9 remixes of Judas and Born This Way and lately Dua Lipa made a remix of practically the whole Future Nostalgia album. Obviously some important remixes this year were Say So by Doja Cat feat. Nicki Minaj and Savage by Megan Thee Stallion feat. Beyonce.
- Bulk purchases. Interesting perspective: Billboard clearing up how Stuck With U got no. 1 instead of Gooba. (source 6)
6ix9ine's claims that "six credit cards" were responsible for a hefty percentage of the "Stuck With U" sales: Billboard and Nielsen Music/MRC Data conducts audits on all sales reported with access to purchase-level detail, and works with data partners to recognize excessive bulk purchases and remove those units from the final sales total. All titles this week, as in every week, were put under the same scrutiny. (Billboard has reached out to Fame House/Bravado, retailer and reporter of director-to-consumer sales, for further comment about the sales data provided for "Stuck With U.")
What's your opinion on what should be changed when it comes to counting sales for Hot 100? What is already crossing the line and what's just a smart way to promote? What strategies should be approved by Billboard?
I'm not sure about the answer to these questions and I saw that a lot of people have their own opinions on this topic so I thought that a proper discussion could be useful.
submitted by jiminspinky to popheads [link] [comments]


2020.09.16 02:42 ThrowRA_blindsided00 My (M24) Girlfriend (F21) says we are incompatible but I think we're a perfect match

Been on this sub for a while and finally asking for advice. I'm using a throwaway but feel like my partner will still know this is about her. She frequents this subreddit. Sorry for the long read.
We've been together for just over 1 year and everything has been great. We have our ups and downs, but I genuinely see a future with her. We've always been comfortable in communicating our feelings and finding ways to accomodate to each others needs.
The other day we got into a petty argument which lead into something much bigger. I was playing a game on my laptop and chuckled at something that happened. She asked what it was and I said not to worry about it. So she asked another time but raised her voice a little. I could see that this mattered to her and so I explained what happened; I made a typo in-game and the other players were joking about it.
I felt upset that this caused her to raise her voice (not yelling, but a louder tone). She has never yelled at me before and hates being verbally aggressive. But when I brought it up, she said "Well I'm frustrated. I'm allowed to raise my voice if I'm frustrated!". I asked why whatever happened in my game mattered so much to legitimise her being frustrated. She said "Well it matters to me!".
I eventually walk out of the room and say that I have enough self-respect in myself, to not allow someone to raise their voice at me for something so trivial. About 1-2 hours later I get a call to go back into the room. As I'm walking back, I think we're going to talk it out, apologise to each other, etc.
Nope, a complete clusterfuck ensued.
I walk into the room and see her on the verge of tears. I sit down next to her and she starts to cry profusely. Even though I've been upset today I can't stand to see her cry so I reach out to hug her, but she pulls away.
A bit of backstory. Earlier this year, she started to communicate some doubts she was feeling. She said she sometimes wonders if she's ready for a relationship (we're each others first). I wanted to go to Japan, but she didn't have enough money. As a result she thought that she's not putting enough effort into us, or holding our relationship back. I explained that I don't have a burning need to travel and I'm happy to wait as many years as necessary, until she's ready. But she kept comparing our friends in a relationship and saying the things that they get up to, which we don't do because she can't afford it. We came to an agreement that some couples travel and make memories that way, but we're doing things that they don't do. In the end, it's not good to compare apples to oranges, as we're all on a different trajectory.
Cut back to her crying next to me. She says how those doubts about us from months ago have never gone away and she is still unsure if there's a future with us together. I asked well, what are the doubts? And I suppose I'll list everything that I remember her saying.
I felt completely blindsided, and here's why. Note that I brought all of this up to her: - I would LOVE to be spontaneous. In the first few months of our relationship, I loved treating her to random gifts, going nice places etc. But similar to the whole Japan situation, she said that she can't keep up with my gifts and can't afford it (She always wants to give back with something of equal value or wants to split dinners half/half). As a result I've toned down our adventures/gifts, but now she thinks I'm not adventurous anymore? - She's really into art, whereas I'm not as much. When I first went to galleries with a friend, we didn't realise the importance of reading the artist's description. As a result the only other person I went with was my girlfriend, who would go to them regularly because of her uni classes. I am genuinely interested in the art, but didn't realise that the description was that important. She could have let me know to read them.
I've had my issues in the relationship too which I thought could make or break us if not resolved. But for me, I addressed them. For her it sounded like I was about to be dumped then and there, for reasons that I didn't know were that big of a deal. That said, I can respect that these are a big deal for her.
But even with my explanation she still felt doubtful of us, personality-wise. I'm completely torn at this because I thought we complimented each other SO well.
I thought that we were such good compliments to each others personality, and she used to say the same. But now, she thinks that opposites DON'T attract and that she wants someone on her level.
As an introvert I've struggled to be more sociable. I have a really non-existent social circle and aren't that good at meeting new people. Because of that I said I'd change. I'll work towards being more enthusiastic. We agreed that I shouldn't change myself for her. But this is a change that I need to do anyway. I can grow myself while also salvaging my relationship.
A side note that I can't help but feel. We're each others first. And while I could never see her cheating on me, she does get a decent amount of attention on social media and when we are out. She used to say how nobody would ever reciprocate feelings to her, but now she's getting a lot of attention from others. She always brings it up to me and blocks them. But I can't help but just think the worst... her reasons for being unsatisfied seem so trivial, is there a hidden reason at play ?? Has she seen that there's others out there and wants to explore? I feel sick thinking this.
I've now been looking at ways to be a more interesting person. But I suppose, what happens if I'm still not good enough? Am I only delaying the inevitable? Is there perhaps something completely different that needs to happen to fix this?
Is she just looking for reasons to break up with me?
Any advice would be greatly appreciated.
TLDR: Girlfriend says that I'm not adventurous, not enthusiastic, not spontaneous enough. I would love to be. The only reason I'm not is because early in our relationship, she said she can't afford the things we want to do (Travel, nice dinners, random gifts, etc). But now that I've toned down, I'm boring?
I'm an introvert while she is an extrovert. She wants to be with someone that matches her level of excitement about the things she likes (art galleries/rock-climbing) etc.
I've made the decision to work on being more enthusiastic about things. But I don't know if I'm beating a dead horse. It sounded like she was about to break up with me, but we've decided that I'll change. I'm not sure if she's already checked out of the relationship.
EDIT: We broke up. Agreed that we can't have me changing so many things about myself. This hit me from out of fucking nowhere.
submitted by ThrowRA_blindsided00 to relationship_advice [link] [comments]


2020.09.05 05:36 RedHeadReviews The Price Of Moral Sacrifice On 6ix9ine’s ‘TattleTales’ - Album Review

In an age in which the market feels more saturated than ever, the lengths and moral code surrounding an artist’s claim to fame has never felt so ambiguous. Whilst this is by no means an abrupt marketing formula, it feels like a demand that within the musical landscape of now, it is the world of media gimmicks that either make or break the inaugural acceptance of the next era of stars. No artist has ever been so prone to the polarising motto, all publicity is good publicity, then New York native 6ix9ine. Making himself a household name through essentially adopting the token title of hip-hops villain, in the age of internet virality and streaming, it felt as if the mogul had cracked the code. Irrespective of one’s opinion on 6ix9ine as a person, though damning an image that may be, no artist has ever had the ability to turn heads quite like him. Whilst I often find myself offended by his inability to separate product from its maker in the least flattering way possible, it is his enigmatic theatrics and bizarre conduct that leaves me intrigued every time.
6ix9ine’s latest album ‘TattleTales’ comes after his glorified release from jail. The result of his careless ignorance and constant tease, 6ix9ine, sonically or otherwise, allows his brash actions to bleed into the medium. That element of his life has always had precedence and influence in his music, yet on his latest body of work, I struggle to find his progression. As is the case for most of these gimmicky, flash in the pan artists, there comes a point in which style is lost and the thinly veiled lack of substance is exposed. ‘TattleTales’ feels like 6ix9ine’s ‘hitting the wall moment’ as he struggles to juggle his synonymous exhilarating antics, with a newfound squeaky clean sound. Everything from his persona, to his appearance, to the album’s art, precedes his reputation, yet I struggle to catch even a glimpse of that same colour and unapologetic attitude anywhere on the record.
Granted, the opening track picks up from a place of familiarity for its performers. ‘LOCKED UP 2’, the revitalised remix of Akon’s ‘Locked Up’ sees both 6ix9ine and Akon reflect upon the troubled undertakings that led to each demise respectively. Revisiting the paths littered with mistakes that would eventually lead to the pair being locked up. Toying with this idea of suppression, the instrumental bears a luxurious frame initially with its piercing keys and serene string refrains, only to be ultimately muted by the violent thrashings of warped descending synths. Whilst the idea in which we understand and sympathise with 6ix9ine’s sorrows feels a little far-fetched and ignorant, it's as close to a heartfelt and insightful moment of relief we get.
Things immediately plummet following 6ix9ine’s defining moment of pitiful honesty on the follow-up track ‘TUTU’. Whilst the favouring of these tropical, colourful instrumental palettes is nothing new within the 6ix9ine catalog, no rendition prior has sounded quite so cheap and shallow. It is almost a given that when the production is so shamelessly toothless, the expectation falls upon the shoulders of the performer to engage. Yet here, 6ix9ine reels back his usual presence to unfold an equally one-note and forgettable vocal performance. Regardless of how unstomachable 6ix9ine’s emphatic rage often is, it's at least a recognisable style, here, 6ix9ine fades all too deviously into a sea of unidentifiable crooners. These same issues become a recurring plague on the track ‘CHARLIE’. With its lifeless clunky pan flutes, and a chorus with perhaps the most perplexing lack of cohesion ever, composed as if it were 6ix9ine’s personal shopping list, the track demonstrates Tekashi’s willingness to recycle these generic and inorganic tropes and shamelessly flog them like a dead horse.
‘Highlights’, a term that is relative to one’s perception and ability to separate Tekashi from his music, are few and far between. Those familiar and inclined to the synonymous 6ix9ine sound are likely to be scratching their heads and wincing at more than a handful of the cuts present on the record, but it is the inclusion of ‘GOOBA’ which acts as a safe haven for his unfiltered, trademark style. Vocally 6ix9ine evokes an unbridled rage through his brutish inflections. Reaching an unparalleled sense of monstrous eruption, it is outlandish cuts like this that make 6ix9ine such a contentious figure. The track's lyrical content captures that provocative tease and childish jest the 6ix9ine formula entertains. An almost landmark return, as the phenomenon directly taunts and gaslights his haters. Whilst, not a sound I exactly care for, this is pinnacle 6ix9ine and I struggle to deny just how bold and daring it is.
6ix9ine has made his interest to transcend genres and merge definitive barriers no secret throughout his career. Constantly opting to fuse together elements of hip-hop and Latin pop, or one step further, inviting and appearing on predominantly Spanish speaking artists tracks. As expected ‘TattleTales’ refuses to interrupt this fascination and harbours a few of its own stylistic splices. We have the cut ‘YAYA’ which may in fact be the most migraine-inducing track within the 6ix9ine discography. With its manipulated chipmunked vocal phrases and Tekashi’s grotesquely strenuous lead refrain it feels as if the song is a tandem bonanza poised with the task of slowly eating away at my sanity.
Where ‘YAYA’ seeks to assault my ears through its rancid production, 6ix9ine ventures elsewhere stylistically to champion his abusively excessive vocals. Similarly sickening and an additionally abhorrent display of complete unambitious incompetence is Tekashi’s effort to toy with the tropes of dancehall on ‘NINI’. Where featured artist Leftside boasts a real smokey and dance feverish flair to his infectious delivery, 6ix9ine is the complete antithesis. Sticking out like a sore thumb, Tekashi lacks the suave, minimalist traits to even remotely do his rendition justice. It is simply mind-boggling to me why anyone, Tekashi included, would see himself fit to appeal to such an otherworldly demographic when his efforts are so blatantly unfit.
Though the album exclusively welcomes recurring names within the Tekashi repertoire, for the most part, 6ix9ine struggles to find virtually any chemistry with his collaborators. Living up to its creator's namesake, the track ‘TROLLZ’ exhibits a point of contention forged from too much personality. Yet again 6ix9ine waters down his sound to create this flavourless melodic crooning that feels far too reserved to leave a lasting impact. Without his sustained audacious presence, he is simply left in the dust by Nicki Minaj who runs circles around him with her witty, personality-filled attitude and delivery that oozes with confidence. Where too much personality spoils the equation on ‘TROLLZ’ it is the removal of pronounced presences that leads to a vapid and sparse listen on ‘LEAH’. With its violently invasive distorted synth line that acts as the enveloping blanket that devours anything and everything beneath it, a somber Akon and 6ix9ine feel all but lost in the reverb-heavy abyss. The two sing of giving in to their primal erotic desires with unnamed partners and indulging in lustful activities, yet nothing is given the necessary treatment to sound sincere or intimate. It all feels so surface level and one-note. So much so, that I am left feeling baron and cold with just how much blank space is left through underwhelming performances.
6ix9ine manages to continually underwhelm and flaunt a lack of creative substance throughout the project's entirety. Yet it isn’t until the back end in which he truly flaunts his blasé and repetitive habits. ‘GATA’ is a prime example of the style over substance formula the Tekashi brand has so rigorously relied upon. 6ix9ine interpolates and calls back to many a past track of his own whilst boasting a truly tasteless sense of independence in which he states his unwelcoming nature towards an undescribed ‘ho’. Its lines like “I won't save her, I won't breed a ho, I don't need a ho, I just fuck her and mislead the ho, I mistreat the ho” that truly capture the vile, downright misogynistic nature of Tekashi’s devoid moral compass. Yet another instance in which 6ix9ine references his own canonical arc is on the track ‘GTL’. Sampling the album's opener, the track is yet another installment in the niche trend of phone recorded songs. Whilst it plays out as a case of insightful recollection in which 6ix9ine comes to the realisation of his bad company, regressing over his misplacement in trust and loyalty amongst those that would eventually turn on him, I fail to see the appeal in such an amateurish and inaudible mix. A part of me hopes that this is the nail in the coffin that finally condemns the ambient-filled phone recorded track to the depths of the drawing board.
I truly and honestly struggle to understand the direction and decisions leading up to 6ix9ine’s construction of the album. 6ix9ine is a head-turner, yet a majority of ‘TattleTales’ feels constructed to go in one ear and immediately out the other. Whilst his synonymous sound is admittedly a hard to swallow pill, his newfound appreciation for an overly pristine and calculated layout sucks any and all originality and life from his sound. Let’s face it, 6ix9ine isn’t exactly a poet or wordsmith, so when his boisterous and over the top personality is removed from the equation I find his craft to become redundant and if anything, a grueling chore. The surface-level enjoyment to be found on ‘TattleTales’ asks more of its listeners than it does 6ix9ine, as I find myself scrambling to draw positives from its creator's input. ‘TattleTales’ is not the eye-catching, snazzy project we’ve come to expect from Tekashi, as it instead feels like the result of the watering down of one’s already insufficient craft.
TattleTales - 6ix9ine - 2/10
submitted by RedHeadReviews to hiphopheads [link] [comments]


2020.09.05 05:36 RedHeadReviews The Price Of Moral Sacrifice On 6ix9ine’s ‘TattleTales’ - Album Review

In an age in which the market feels more saturated than ever, the lengths and moral code surrounding an artist’s claim to fame has never felt so ambiguous. Whilst this is by no means an abrupt marketing formula, it feels like a demand that within the musical landscape of now, it is the world of media gimmicks that either make or break the inaugural acceptance of the next era of stars. No artist has ever been so prone to the polarising motto, all publicity is good publicity, then New York native 6ix9ine. Making himself a household name through essentially adopting the token title of hip-hops villain, in the age of internet virality and streaming, it felt as if the mogul had cracked the code. Irrespective of one’s opinion on 6ix9ine as a person, though damning an image that may be, no artist has ever had the ability to turn heads quite like him. Whilst I often find myself offended by his inability to separate product from its maker in the least flattering way possible, it is his enigmatic theatrics and bizarre conduct that leaves me intrigued every time.
6ix9ine’s latest album ‘TattleTales’ comes after his glorified release from jail. The result of his careless ignorance and constant tease, 6ix9ine, sonically or otherwise, allows his brash actions to bleed into the medium. That element of his life has always had precedence and influence in his music, yet on his latest body of work, I struggle to find his progression. As is the case for most of these gimmicky, flash in the pan artists, there comes a point in which style is lost and the thinly veiled lack of substance is exposed. ‘TattleTales’ feels like 6ix9ine’s ‘hitting the wall moment’ as he struggles to juggle his synonymous exhilarating antics, with a newfound squeaky clean sound. Everything from his persona, to his appearance, to the album’s art, precedes his reputation, yet I struggle to catch even a glimpse of that same colour and unapologetic attitude anywhere on the record.
Granted, the opening track picks up from a place of familiarity for its performers. ‘LOCKED UP 2’, the revitalised remix of Akon’s ‘Locked Up’ sees both 6ix9ine and Akon reflect upon the troubled undertakings that led to each demise respectively. Revisiting the paths littered with mistakes that would eventually lead to the pair being locked up. Toying with this idea of suppression, the instrumental bears a luxurious frame initially with its piercing keys and serene string refrains, only to be ultimately muted by the violent thrashings of warped descending synths. Whilst the idea in which we understand and sympathise with 6ix9ine’s sorrows feels a little far-fetched and ignorant, it's as close to a heartfelt and insightful moment of relief we get.
Things immediately plummet following 6ix9ine’s defining moment of pitiful honesty on the follow-up track ‘TUTU’. Whilst the favouring of these tropical, colourful instrumental palettes is nothing new within the 6ix9ine catalog, no rendition prior has sounded quite so cheap and shallow. It is almost a given that when the production is so shamelessly toothless, the expectation falls upon the shoulders of the performer to engage. Yet here, 6ix9ine reels back his usual presence to unfold an equally one-note and forgettable vocal performance. Regardless of how unstomachable 6ix9ine’s emphatic rage often is, it's at least a recognisable style, here, 6ix9ine fades all too deviously into a sea of unidentifiable crooners. These same issues become a recurring plague on the track ‘CHARLIE’. With its lifeless clunky pan flutes, and a chorus with perhaps the most perplexing lack of cohesion ever, composed as if it were 6ix9ine’s personal shopping list, the track demonstrates Tekashi’s willingness to recycle these generic and inorganic tropes and shamelessly flog them like a dead horse.
‘Highlights’, a term that is relative to one’s perception and ability to separate Tekashi from his music, are few and far between. Those familiar and inclined to the synonymous 6ix9ine sound are likely to be scratching their heads and wincing at more than a handful of the cuts present on the record, but it is the inclusion of ‘GOOBA’ which acts as a safe haven for his unfiltered, trademark style. Vocally 6ix9ine evokes an unbridled rage through his brutish inflections. Reaching an unparalleled sense of monstrous eruption, it is outlandish cuts like this that make 6ix9ine such a contentious figure. The track's lyrical content captures that provocative tease and childish jest the 6ix9ine formula entertains. An almost landmark return, as the phenomenon directly taunts and gaslights his haters. Whilst, not a sound I exactly care for, this is pinnacle 6ix9ine and I struggle to deny just how bold and daring it is.
6ix9ine has made his interest to transcend genres and merge definitive barriers no secret throughout his career. Constantly opting to fuse together elements of hip-hop and Latin pop, or one step further, inviting and appearing on predominantly Spanish speaking artists tracks. As expected ‘TattleTales’ refuses to interrupt this fascination and harbours a few of its own stylistic splices. We have the cut ‘YAYA’ which may in fact be the most migraine-inducing track within the 6ix9ine discography. With its manipulated chipmunked vocal phrases and Tekashi’s grotesquely strenuous lead refrain it feels as if the song is a tandem bonanza poised with the task of slowly eating away at my sanity.
Where ‘YAYA’ seeks to assault my ears through its rancid production, 6ix9ine ventures elsewhere stylistically to champion his abusively excessive vocals. Similarly sickening and an additionally abhorrent display of complete unambitious incompetence is Tekashi’s effort to toy with the tropes of dancehall on ‘NINI’. Where featured artist Leftside boasts a real smokey and dance feverish flair to his infectious delivery, 6ix9ine is the complete antithesis. Sticking out like a sore thumb, Tekashi lacks the suave, minimalist traits to even remotely do his rendition justice. It is simply mind-boggling to me why anyone, Tekashi included, would see himself fit to appeal to such an otherworldly demographic when his efforts are so blatantly unfit.
Though the album exclusively welcomes recurring names within the Tekashi repertoire, for the most part, 6ix9ine struggles to find virtually any chemistry with his collaborators. Living up to its creator's namesake, the track ‘TROLLZ’ exhibits a point of contention forged from too much personality. Yet again 6ix9ine waters down his sound to create this flavourless melodic crooning that feels far too reserved to leave a lasting impact. Without his sustained audacious presence, he is simply left in the dust by Nicki Minaj who runs circles around him with her witty, personality-filled attitude and delivery that oozes with confidence. Where too much personality spoils the equation on ‘TROLLZ’ it is the removal of pronounced presences that leads to a vapid and sparse listen on ‘LEAH’. With its violently invasive distorted synth line that acts as the enveloping blanket that devours anything and everything beneath it, a somber Akon and 6ix9ine feel all but lost in the reverb-heavy abyss. The two sing of giving in to their primal erotic desires with unnamed partners and indulging in lustful activities, yet nothing is given the necessary treatment to sound sincere or intimate. It all feels so surface level and one-note. So much so, that I am left feeling baron and cold with just how much blank space is left through underwhelming performances.
6ix9ine manages to continually underwhelm and flaunt a lack of creative substance throughout the project's entirety. Yet it isn’t until the back end in which he truly flaunts his blasé and repetitive habits. ‘GATA’ is a prime example of the style over substance formula the Tekashi brand has so rigorously relied upon. 6ix9ine interpolates and calls back to many a past track of his own whilst boasting a truly tasteless sense of independence in which he states his unwelcoming nature towards an undescribed ‘ho’. Its lines like “I won't save her, I won't breed a ho, I don't need a ho, I just fuck her and mislead the ho, I mistreat the ho” that truly capture the vile, downright misogynistic nature of Tekashi’s devoid moral compass. Yet another instance in which 6ix9ine references his own canonical arc is on the track ‘GTL’. Sampling the album's opener, the track is yet another installment in the niche trend of phone recorded songs. Whilst it plays out as a case of insightful recollection in which 6ix9ine comes to the realisation of his bad company, regressing over his misplacement in trust and loyalty amongst those that would eventually turn on him, I fail to see the appeal in such an amateurish and inaudible mix. A part of me hopes that this is the nail in the coffin that finally condemns the ambient-filled phone recorded track to the depths of the drawing board.
I truly and honestly struggle to understand the direction and decisions leading up to 6ix9ine’s construction of the album. 6ix9ine is a head-turner, yet a majority of ‘TattleTales’ feels constructed to go in one ear and immediately out the other. Whilst his synonymous sound is admittedly a hard to swallow pill, his newfound appreciation for an overly pristine and calculated layout sucks any and all originality and life from his sound. Let’s face it, 6ix9ine isn’t exactly a poet or wordsmith, so when his boisterous and over the top personality is removed from the equation I find his craft to become redundant and if anything, a grueling chore. The surface-level enjoyment to be found on ‘TattleTales’ asks more of its listeners than it does 6ix9ine, as I find myself scrambling to draw positives from its creator's input. ‘TattleTales’ is not the eye-catching, snazzy project we’ve come to expect from Tekashi, as it instead feels like the result of the watering down of one’s already insufficient craft.
TattleTales - 6ix9ine - 2/10
submitted by RedHeadReviews to Music [link] [comments]


2020.09.05 05:36 RedHeadReviews The Price Of Moral Sacrifice On 6ix9ine’s ‘TattleTales’ - Album Review

In an age in which the market feels more saturated than ever, the lengths and moral code surrounding an artist’s claim to fame has never felt so ambiguous. Whilst this is by no means an abrupt marketing formula, it feels like a demand that within the musical landscape of now, it is the world of media gimmicks that either make or break the inaugural acceptance of the next era of stars. No artist has ever been so prone to the polarising motto, all publicity is good publicity, then New York native 6ix9ine. Making himself a household name through essentially adopting the token title of hip-hops villain, in the age of internet virality and streaming, it felt as if the mogul had cracked the code. Irrespective of one’s opinion on 6ix9ine as a person, though damning an image that may be, no artist has ever had the ability to turn heads quite like him. Whilst I often find myself offended by his inability to separate product from its maker in the least flattering way possible, it is his enigmatic theatrics and bizarre conduct that leaves me intrigued every time.
6ix9ine’s latest album ‘TattleTales’ comes after his glorified release from jail. The result of his careless ignorance and constant tease, 6ix9ine, sonically or otherwise, allows his brash actions to bleed into the medium. That element of his life has always had precedence and influence in his music, yet on his latest body of work, I struggle to find his progression. As is the case for most of these gimmicky, flash in the pan artists, there comes a point in which style is lost and the thinly veiled lack of substance is exposed. ‘TattleTales’ feels like 6ix9ine’s ‘hitting the wall moment’ as he struggles to juggle his synonymous exhilarating antics, with a newfound squeaky clean sound. Everything from his persona, to his appearance, to the album’s art, precedes his reputation, yet I struggle to catch even a glimpse of that same colour and unapologetic attitude anywhere on the record.
Granted, the opening track picks up from a place of familiarity for its performers. ‘LOCKED UP 2’, the revitalised remix of Akon’s ‘Locked Up’ sees both 6ix9ine and Akon reflect upon the troubled undertakings that led to each demise respectively. Revisiting the paths littered with mistakes that would eventually lead to the pair being locked up. Toying with this idea of suppression, the instrumental bears a luxurious frame initially with its piercing keys and serene string refrains, only to be ultimately muted by the violent thrashings of warped descending synths. Whilst the idea in which we understand and sympathise with 6ix9ine’s sorrows feels a little far-fetched and ignorant, it's as close to a heartfelt and insightful moment of relief we get.
Things immediately plummet following 6ix9ine’s defining moment of pitiful honesty on the follow-up track ‘TUTU’. Whilst the favouring of these tropical, colourful instrumental palettes is nothing new within the 6ix9ine catalog, no rendition prior has sounded quite so cheap and shallow. It is almost a given that when the production is so shamelessly toothless, the expectation falls upon the shoulders of the performer to engage. Yet here, 6ix9ine reels back his usual presence to unfold an equally one-note and forgettable vocal performance. Regardless of how unstomachable 6ix9ine’s emphatic rage often is, it's at least a recognisable style, here, 6ix9ine fades all too deviously into a sea of unidentifiable crooners. These same issues become a recurring plague on the track ‘CHARLIE’. With its lifeless clunky pan flutes, and a chorus with perhaps the most perplexing lack of cohesion ever, composed as if it were 6ix9ine’s personal shopping list, the track demonstrates Tekashi’s willingness to recycle these generic and inorganic tropes and shamelessly flog them like a dead horse.
‘Highlights’, a term that is relative to one’s perception and ability to separate Tekashi from his music, are few and far between. Those familiar and inclined to the synonymous 6ix9ine sound are likely to be scratching their heads and wincing at more than a handful of the cuts present on the record, but it is the inclusion of ‘GOOBA’ which acts as a safe haven for his unfiltered, trademark style. Vocally 6ix9ine evokes an unbridled rage through his brutish inflections. Reaching an unparalleled sense of monstrous eruption, it is outlandish cuts like this that make 6ix9ine such a contentious figure. The track's lyrical content captures that provocative tease and childish jest the 6ix9ine formula entertains. An almost landmark return, as the phenomenon directly taunts and gaslights his haters. Whilst, not a sound I exactly care for, this is pinnacle 6ix9ine and I struggle to deny just how bold and daring it is.
6ix9ine has made his interest to transcend genres and merge definitive barriers no secret throughout his career. Constantly opting to fuse together elements of hip-hop and Latin pop, or one step further, inviting and appearing on predominantly Spanish speaking artists tracks. As expected ‘TattleTales’ refuses to interrupt this fascination and harbours a few of its own stylistic splices. We have the cut ‘YAYA’ which may in fact be the most migraine-inducing track within the 6ix9ine discography. With its manipulated chipmunked vocal phrases and Tekashi’s grotesquely strenuous lead refrain it feels as if the song is a tandem bonanza poised with the task of slowly eating away at my sanity.
Where ‘YAYA’ seeks to assault my ears through its rancid production, 6ix9ine ventures elsewhere stylistically to champion his abusively excessive vocals. Similarly sickening and an additionally abhorrent display of complete unambitious incompetence is Tekashi’s effort to toy with the tropes of dancehall on ‘NINI’. Where featured artist Leftside boasts a real smokey and dance feverish flair to his infectious delivery, 6ix9ine is the complete antithesis. Sticking out like a sore thumb, Tekashi lacks the suave, minimalist traits to even remotely do his rendition justice. It is simply mind-boggling to me why anyone, Tekashi included, would see himself fit to appeal to such an otherworldly demographic when his efforts are so blatantly unfit.
Though the album exclusively welcomes recurring names within the Tekashi repertoire, for the most part, 6ix9ine struggles to find virtually any chemistry with his collaborators. Living up to its creator's namesake, the track ‘TROLLZ’ exhibits a point of contention forged from too much personality. Yet again 6ix9ine waters down his sound to create this flavourless melodic crooning that feels far too reserved to leave a lasting impact. Without his sustained audacious presence, he is simply left in the dust by Nicki Minaj who runs circles around him with her witty, personality-filled attitude and delivery that oozes with confidence. Where too much personality spoils the equation on ‘TROLLZ’ it is the removal of pronounced presences that leads to a vapid and sparse listen on ‘LEAH’. With its violently invasive distorted synth line that acts as the enveloping blanket that devours anything and everything beneath it, a somber Akon and 6ix9ine feel all but lost in the reverb-heavy abyss. The two sing of giving in to their primal erotic desires with unnamed partners and indulging in lustful activities, yet nothing is given the necessary treatment to sound sincere or intimate. It all feels so surface level and one-note. So much so, that I am left feeling baron and cold with just how much blank space is left through underwhelming performances.
6ix9ine manages to continually underwhelm and flaunt a lack of creative substance throughout the project's entirety. Yet it isn’t until the back end in which he truly flaunts his blasé and repetitive habits. ‘GATA’ is a prime example of the style over substance formula the Tekashi brand has so rigorously relied upon. 6ix9ine interpolates and calls back to many a past track of his own whilst boasting a truly tasteless sense of independence in which he states his unwelcoming nature towards an undescribed ‘ho’. Its lines like “I won't save her, I won't breed a ho, I don't need a ho, I just fuck her and mislead the ho, I mistreat the ho” that truly capture the vile, downright misogynistic nature of Tekashi’s devoid moral compass. Yet another instance in which 6ix9ine references his own canonical arc is on the track ‘GTL’. Sampling the album's opener, the track is yet another installment in the niche trend of phone recorded songs. Whilst it plays out as a case of insightful recollection in which 6ix9ine comes to the realisation of his bad company, regressing over his misplacement in trust and loyalty amongst those that would eventually turn on him, I fail to see the appeal in such an amateurish and inaudible mix. A part of me hopes that this is the nail in the coffin that finally condemns the ambient-filled phone recorded track to the depths of the drawing board.
I truly and honestly struggle to understand the direction and decisions leading up to 6ix9ine’s construction of the album. 6ix9ine is a head-turner, yet a majority of ‘TattleTales’ feels constructed to go in one ear and immediately out the other. Whilst his synonymous sound is admittedly a hard to swallow pill, his newfound appreciation for an overly pristine and calculated layout sucks any and all originality and life from his sound. Let’s face it, 6ix9ine isn’t exactly a poet or wordsmith, so when his boisterous and over the top personality is removed from the equation I find his craft to become redundant and if anything, a grueling chore. The surface-level enjoyment to be found on ‘TattleTales’ asks more of its listeners than it does 6ix9ine, as I find myself scrambling to draw positives from its creator's input. ‘TattleTales’ is not the eye-catching, snazzy project we’ve come to expect from Tekashi, as it instead feels like the result of the watering down of one’s already insufficient craft.
TattleTales - 6ix9ine - 2/10
submitted by RedHeadReviews to rap [link] [comments]


2020.08.25 17:59 MansA24Augl Awa-kening S-ex Be-st Ga-me T-he

Awa-kening S-ex Be-st Ga-me T-he
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2020.08.05 17:53 haircombsnightmare Weekly Wednesday Appreciation Post (August 5) – BTS

Hello and welcome to our new Weekly Appreciation Post! Once a week, we will create a mega-thread to appreciate a randomly selected group.
This is a post you can use to tell us what you like about this group, share with others things you want them to know, music you want them to listen to or even take a chance to learn more about the group.
-- Who is BTS? ---
If you’ve been a fan of Kpop for a while, it’s unlikely you haven’t heard of them – BTS or Bangtan Boys (Bangtan Sonyeondan) is a 7 member boy group who debuted in 2013 and has been breaking world records ever since.
BTS is comprised of 7 members:
RM (formerly rap monster) – Leader, Main Rapper
Jin – Sub Vocalist, Visual
Suga – Lead Rapper
J-Hope - Main Dancer, Sub Rapper, Sub Vocalist
Jimin - Main Dancer, Lead Vocalist
V - Lead Dancer, Sub Vocalist, Visual
Jungkook - Main Vocalist, Lead Dancer, Sub Rapper, Center, Maknae
-- How did BTS grow so big? Some history behind their fame. --
BTS debuted under the label BigHit Entertainment with the song and music video “No More Dream”, part of their first album “2 Cool 4 Skool”.
During their initial years, BTS was moderately successful, releasing their first studio album “Dark & Wild” along with music videos for the songs “Danger” and “War of Hormone”, which peaked at number 58 and number 173 in Korea respectively.
In March 2015, they released their third extended play “The Most Beautiful Moment in Life, Pt. 1”. Its lead single “I Need U” was BTS' first top five hit in Korea and gained them their first ever music show win. Its second single, “Dope”, peaked at number three on Billboard's World Digital Songs Chart and became their first music video to gain over 100 million views on YouTube.
Interesting fact: while “Dope” was a huge international success, it only peaked at number 44 in Korea.
In November 2015, BTS released their fourth extended play “The Most Beautiful Moment in Life, Pt. 2” with “Run” as its title track and lead single. The album topped the weekly Gaon Album and Billboard World Albums charts and BTS became the first K-pop group to remain atop the latter for multiple weeks.
In May 2016, BTS released their first compilation album with 23 tracks, “The Most Beautiful Moment in Life: Young Forever”. It included three new singles: "Epilogue: Young Forever", "Fire" and "Save Me". The album topped Gaon Weekly Chart in Korea for two consecutive weeks. This album later won BTS' first major Korean award for Album of the Year at the 8th Melon Music Awards.
At this point in their career, BTS had started garnering major attention both in Korea and internationally. In October 2016, they released their second studio album “Wings” with the lead single “Blood, Sweat and Tears” which achieved a music chart "all-kill" in South Korea and became their first number one hit on the weekly Gaon Digital Chart.
Wings” became the best-selling album in Gaon Album Chart history at the time. BTS were the first artist not from a "Big Three" entertainment company (SM, YG and JYP) to win Artist of the Year at the 18th Mnet Asian Music Awards in December of the same year.
Although it is hard to pinpoint the exact moment in which BTS blew up, you could say “Wings” was the first album that broke every record and made them explode with popularity at a worldwide scale.
In September 2017, BTS released their fifth extended play “Love Yourself: Her”, with the two main singles “DNA” and “Mic Drop”. In Korea, the EP sold over 1.2 million copies on the Gaon Album Chart in its first month, achieving the highest monthly album sales in the chart's history and the highest on any Korean chart in 16 years.
The music video for DNA broke the previous record for most viewed K-pop group music video within the first 24 hours with more than 20 million views on YouTube. In November 2017, BTS became the first K-pop group to perform at the American Music Awards, raising their international popularity.
In May 2018, BTS released their third Korean-language studio album, “Love Yourself: Tear”. Commercially, it was one of BTS' most successful albums, bringing them to new heights both domestically and internationally. It became their highest-charting and first number one album in the US and the first K-pop album to top the U.S. albums chart.
As the conclusion of the Love Yourself series, BTS released their second Korean compilation album “Love Yourself: Answer” in August 2018, with lead single “Idol” and its alternative release featuring American singer Nicki Minaj.
In April 2019, BTS released their sixth EP, “Map of the Soul: Persona” with the lead single “Boy with Luv”, featuring American singer Halsey. Commercially, BTS reached new career heights. This album became the first Korean album to reach the number one position in both the UK and Australia and the group's third consecutive album to top the Billboard 200, joining the likes of the Beatles, who achieved the same in 1995–96.
In February of this year, BTS released their fourth Korean album “Map of the Soul: 7” supported by the lead single “On”. It sold more than 4.1 million copies, surpassing the record of their previous album to become the best-selling album in the history of South Korea. The album debuted at number one in countries such as Australia, Canada, France, Germany, Ireland, Japan, the United Kingdom and the U.S., making BTS the first Asian group to top the charts in the world's five largest music markets.
BTS recently announced that they will be releasing a new fully english single this August 21st. Stay tuned!
-- Some of BTS’ most notable achievements --
If you would like to know more about their biggest achievements, you can follow this link.
-- Trivia/interesting facts --
Some other relevant information
BTS Fandom Name: A.R.M.Y (Adorable Representative MC for Youth)
BTS Official Light Stick Color: Silver-Gray
Official Accounts:
Instagram
Twitter
Reddit
How did you first hear of BTS? Were they the group that introduced you to Kpop? Who is your bias? What is your favorite album/song? What is your overall opinion of BTS? Let us know in the comments below! And remember, this is an appreciation post.
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2020.07.27 19:10 Im_Here_Everybody RPDR Season 12 with Nicki Minaj Episode 8 Lipsync / Episode 9

RPDR Season 12 with Nicki Minaj Episode 8 Lipsync / Episode 9
*After the lipsync*
Ladies I have made my decision...

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Jackie Cox, shantay you stay
Jan, sashay away.
JAN!
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9th Episode

Hello, Hello, Hello!
Can you believe that this show is main stream? After many seasons, we can finally say that we've made it bitches!
Now, the people we have to thank is our fans, so thats what we are doing!
*Enter the super-fans*
This are some of our biggest fans! And you will be making them over!
Jaida, as the winner of the last challenge, you have the power to pair up the queens with one of the fans!

Crystal Methyd and Grace Boll (Original pair)

Heidi N Closet and Shea Smesler (Gigi's pair)

Jackie Cox and Tiffany De La Cruz (Original pair)

Jaida Essence Hall and Bethany Akeroy (Original pair)

Nicki Minaj and Janet the Planet (An icon, and also Sherry's pair)

Widow Von'Du and Nicole Blake (Heidi's pair)
Now, my fans, you will also have the oppurtunity to lipsync for fun! Because that is why we are here, to have some fun!

Vote

Spreadsheet

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There won't be a returning queen this episode. Last episode I made some mathematical errors, and tought that there were 7 super fans. So no returning queen.
Also, Heidi has her unused makever look because her partner changed. Nicole was a little too big for the outfit that Heidi brought, so she has to improvise. But now, since Shea is a bit more pettit, Heidi can use her original makeover look.
submitted by Im_Here_Everybody to RPDRfantasyseason [link] [comments]


2020.07.27 04:52 throwawayceudhdhd People must stop romanticizing the past

TLDR good songs from 2019 do exist, and not all songs from 50 years ago were good. People have always had hookups and not all of them saved themselves for marriage. Women in the 19th century didn’t wear ball gowns everyday. If you lived in the past no one would even like you. There’s a fine line between enjoying old stuff and romanticizing the past like an idiot.
Specifically, eras they know nothing about and never lived in. I get being a fan of vintage stuff or a specific time period, it’s actually cool to see people collecting vinyls for example, or being passionate about a certain aspect of History. I’m really into cottagecore myself, which is very much a vintage aesthetic.
But damn, try to watch anything on YouTube about the 20th century, or just music videos from the 1970s. Scroll down the comments. « I’m only 14 but unlike all of my immature comrades who listen to Nicki Minaj, I exclusively listen to good old school rock bands. Music back then was so much better and had real lyrics. Nowadays all music sucks. ». Same bullshit under Mozart videos.
Do they get that American pop stars who are currently popular among teenagers don’t represent the entirety of modern music? Listen to foster the people or the Hoosiers or something... or even Eminem for those who say « lolz Mozart is so much better than modern vulgar rap bullshit that dumb teens listen to ». Eminem’s rhymes are undeniably incredibly well written and don’t deserve less praise than dEeP lYriCs from old songs. Or if you enjoy old broadway musicals... The level didn’t drop. Modern songs from broadway musicals are awesome.
Also not all old songs are deep. Laid back summertime jams have been a thing since a looong long time. Like Elvis, I like his songs but I don’t see how exactly he’s different from many modern commercial artists. Catchy songs, but the lyrics aren’t particularly deep and most of the time it’s mainly for money. And there’s nothing wrong with that. It’s easier nowadays to become famous with less talents (regarding instruments or dance or voice) than in earlier times, which means there are more shitty songs, but not less good songs. You’re just lazy.
Or if we stray away from the whole music thing, there’s also a lot of stuck up people who think they’re better than everyone because they don’t have sex. And who love to talk about how people didn’t start having sex before 1990. Got into several arguments with women who kept saying « back then everyone saved themselves for marriage and I’m like that too because I’m a good woman», « sucks being a hopeless romantic in an era of hookups and premarital sex », or from men, « at least in the 1950s women respected themselves and weren’t promiscuous ».
Guys. I’m pretty certain what you call hookup culture has been a thing since forever, and is being uncovered because sex is less taboo, which in no way should be considered a bad thing. Free unlimited access to p//rn for children is a bad thing. Teenagers having sex and college students getting tinder hookups is healthy, normal and unrelated to self-respect. Dating apps weren’t a thing in 1950, but getting a hookup at a baclub/hookup spot sure as hell was common. And it didn’t stop romantic people from being romantic. If other people having multiple sex partners before marriage stops you from being romantic, again, you’re just lazy. There are tons of people who don’t do hookups and who can’t wait to bring you flowers. There are also tons of people who do hookups and are actually capable of bringing you flowers. Just like in the 1950s! Because hookup culture doesn’t mean you’re the only hopeless romantic on earth. I know, mind-blowing. Marilyn Monroe would probably hate you for complaining about other people having hookups. Marilyn Monroe had hookups. And... Also was a hopeless romantic.
And then we have the classic, « I wish I lived in the Victorian era, so I can wear beautiful dresses everyday ». Girly watches a period drama for two seconds and thinks every woman in the 19th century wore royal ball gowns everyday. Or girly watches Karolina Zebrowska and thinks that every woman in the 19th century wore historically accurate royal ball gowns everyday. Paintings and period dramas aren’t real life. Just look at any Victorian photo, it’s simple dresses with no patterns and just some lace 99% of the time. No volume or anything. And people who could afford photos were a MINORITY. Only queens and empresses (like Sissi, or earlier, Maria Antonia) looked like gorgeous paintings everyday, because it was part of their job. Looking constantly perfect to give a good image of their country. And young noble women too, on a lower standard of course, needed to look perfect to give a good image of their family and find a husband. And it was exhausting, you probably wouldn’t enjoy being a noblewoman in the Victorian era, even though in order to wear beautiful dresses everyday in the 1800s that’s what you’d need to be. You probably wouldn’t enjoy the Victorian era, at all.
I think everyone reading this right now is objectively lucky as hell to be alive in 2020. Even just for the incredible freedom you get compared to certain times that are often romanticized (thinking specifically for people of color and women). The infinite knowledge you can get from just google and YouTube, knowledge that used to be reserved for rich people. The medical knowledge we have thanks to science advancing, compared to 1960s ads telling you smoking is good for the health. Or surgery being way less dangerous than it used to be. Could go on and on.
Dreaming of an ideal life as a 1800s royal or 1950s housewife can be a coping mechanism I totally understand, but no era has ever been perfect, they all have their good sides but the good sides are overshadowed by the flaws and risks. It’s awesome to write love letters Victorian styles, but it just makes me cringe really hard when people start saying they genuinely wish they were Victorians for the sake of superficial positive things. It’s like watching anime and thinking everyone in Japan are cute schoolgirls with colorful hair.
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2020.07.11 05:26 forausernamequeen AS7 RUNNERS-UP: EPISODE 3 (RESULTS) & EPISODE 4 (PRE-SURVEY)

Welcome back to AS7!
Thank you very much to those who voted for Episode 3. :)
After the 3-in-1 lewks runway, the queens are on the main stage. to watch their performances in The Bitchelor improv challenge. Afterwards, the judges give the girls their critiques.
If I call your name, please step forward.
Crystal Methyd, Gigi Goode, Divina de Campo, Kim Chi, Peppermint, Kameron Michaels...
You are the tops and bottoms of the week.
That means, Brooke Lynn Hytes and Raven… you are both safe. Good job this week.
Crystal Methyd, Divina de Campo, and Peppermint receive praises from the judges. They all loved their looks tonight and they were the funniest in the challenge. The judges were impressed by Divina’s commitment to her character, and Divina says she was concerned that her british humor won’t translate well with them but she’s glad it did. Ross points out though that although it worked for the challenge, Crystal “should now stop relying on Phenomenal Phil. It’s All Stars, and I know you can show us more.”. Peppermint, on the other hand, surprised the judges a lot. They tell her that she really let go in this challenge, and it was something they didn’t really see back in Season 9. Peppermint gets emotional because she was really nervous about this improv challenge, so she wanted to redeem herself.
Kameron Michaels, Kim Chi, and Gigi Goode receive bad reviews from the judges. They commented on Kim Chi’s runway being so editorial, however, Kim Chi’s nerves were present during the challenge and it was disappointing because they know she’s quick-witted. Kameron Michaels got in her head again, and she says she felt such pressure to redeem herself. The judges tell Gigi Goode that her lewks tonight were a little basic and very off-the rack. In the challenge, she had funny moments but she was outshined by her partner, Crystal.Divina and Crystal, you are both safe.
Peppermint, condragulations! You are the Top All Star of the week.
In her confessional, Peppermint screams loudly. She says “Me? With 2 wins? I can’t… I just can’t.”
That means, Kameron, Gigi Goode, and Kim Chi, you are all up for elimination.Peppermint, you will have to decide who you’ll choose to eliminate.
The queens untuck in the backstage. The girls congratulate Peppermint who’s still overwhelmed about her win. Crystal tells her “Come on front-runner!”, and Divina praises Peppermint and then says “Girl, you may have won 2 challenges but you were in the bottom last week. Front-runner? I don’t think.”.
Kim Chi starts saying goodbye to the girls, and she says she’s ready for whatever’s about to happen. She says both Gigi and Kameron have so much more to offer. Kameron begs the queens and Peppermint that she has so much more to show, and this was a slip-up. Gigi Goode sobs, and says she’s scared that she’s about to go home because she knows some girls feel some type of way about her. In her confessional, Raven recalls Gigi and Kameron voted for her to go home last week, so she’s torn between the two on who she’ll send packing.
After the deliberations, Peppermint battles against the Lip Sync Assasin, Jujubee, with Stevie Nick’s Edge of Seventeen. They both give it their all, but Jujubee embodied the song better.
Jujubee, you’re a winner, baby!
Jujubee reveals the lipstick that the queens chose.
Kim Chi...As it is written, so it shall be done.
Season overview: https://docs.google.com/spreadsheets/d/1C5MFOq9z8o-W1D3FFPifg7nY0FAJXB4mAnTQGNB_BuE/edit#gid=0
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Next week on All Stars 7, we are playing the Snatch Game!
I need your help in figuring out which celebrities each queen will play because everything is hypothetical. You may know information that I don’t know which can help make this virtual fantasy season better, so I’d really appreciate it. :)
This is all I know:
Which celebrities should they play?
Please vote herehttps://forms.gle/kTbacWDN47eUspUJ8
And I included a question for a possible twist. Let me know what you think!
LSA next week: Bob the Drag Queen
LSS: Megatron by Nicki Minaj.
submitted by forausernamequeen to RPDRfantasyseason [link] [comments]


2020.07.04 04:44 impeach10 Stop Facebook!

Subject: #StopHateForProfit

Hi,

While other media platforms take action to fight racism, misogyny, and the spread of disinformation, Facebook continues to profit off of the spread of hate, fake news, and discrimination. In fact, last year, Facebook made $70 billion in advertising revenue. Enough is enough. It's time to #StopHateForProfit.

More than 500 companies--including Starbucks, Best Buy, Coca-Cola, Lululemon, Honda, Reebok, Hershey, Verizon, REI, and Colgate-Palmolive-- have joined a boycott of Facebook ads to push Facebook to stop the spread of hate and disinformation on the platform. These companies joined the boycott thanks to public pressure, and Facebook's stocks plummeted as a result--costing Facebook and Facebook CEO Mark Zuckerberg billions of dollars and forcing Zuckerberg to acknowledge the boycott.

But Facebook still hasn't gotten the message, which is why it's critical that major corporations who posted on social media in support of the Black Lives Matter movement join the boycott--starting with LVMH, a billion-dollar company that owns brands including Sephora, Marc Jacobs, Dom Perignon, Givenchy, and Christian Dior. These high-end brands rake in millions by profiting off of Black artists and creators--like Beyonce, Tracee Ellis Ross, and Nicki Minaj--who promote their products on the red carpet and in their art. LVMH also owns Rihanna's Fenty line so it literally profits off of the work of a Black woman. LVMH has increasingly shifted its massive advertising budget to online ads (Facebook even used LVMH's Louis Vuitton brand as an advertising case study), so having these brands join the boycott would be a big blow for Facebook.

Zuckerberg posted a statement in support of the Black Lives Matter movement after the deaths of Breonna Taylor, Ahmaud Arbery, and George Floyd. However, statements of support are meaningless as long as Facebook continues to harbor white nationalists who incite violence against Black Lives Matter protesters, suppress voters, and spread racist fake news.

Facebook cannot hide from this moment of national reckoning on systemic racism. That's why we're partnering with a coalition of organizations to go after Facebook's profits by asking advertisers to stop buying ads on Facebook until it changes its policies.

Sephora, Marc Jacobs, Givenchy, Christian Dior, Celine, and other LVMH brands recently made public statements in support of the Black Lives Matter movement. But public statements without action are just posturing. It's time for these brands to put their money where their mouth is and stop spending ad money on Facebook until it takes action to protect Black people and our democracy. These brands rely on their reputation as aspirational and socially desirable, and that's exactly what makes them susceptible to public pressure.

Tell LVMH: Join the Facebook boycott to stop the spread of racism online. https://act.weareultraviolet.org/sign/stophateforprofit?referring_akid=50080.2772814.RJiq6i&source=taf
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2020.06.23 00:09 DestinysChildren AITA for not telling my partner that I'm a Barb?

So I have been in a relationship with the love of my life for the past three years, we met in Bogotá at the top of Monserrate and moved back to Vancouver, then we recently got engaged in Shanghai right in front of the Imperial Pearl Tower.
Our relationship has been rock solid for the most part, but there have been some issues in terms of our upcoming wedding. We had a separate savings account to contribute money for the ceremony, and my partner recently noticed that $5,000 was missing.
They pressed me about the issue and I told them that I had to justify spending 50% of our savings to buy a few copies of Say So (feat. Nicki Minaj) on iTunes - I explained she was literally so close to getting her first #1 and to let her down would be completely against everything I've worked for in my life.
In response, my partner completely blew up and called me "selfish" and "delusional". They used my past actions to attack me, saying that me spending my COVID stimulus check on Tusa was a red flag, and me lying to the government and taking out an FHA loan just to buy copies of Good Form should have been the final straw, but they gave me the benefit of the doubt.
It's been weeks now and we still have not spoken, and the wedding is on Saturday - I've since spent the rest of the money on copies of TROLLZ and I sincerely have no regrets. I'm proud of myself for standing up to my partner, but my sister said I'm being selfish - AITA?
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2020.06.19 11:39 Astro1194 How do our pets experience music?

I've heard that a smart dog can have the same capacity for brain function as a toddler, and I was just listening to my partner play at a gig, a little girl - 2 or 3 - was dancing right in front of her piano. This little girl obviously didn't know any music theory, but had different dancing sryles that changed with the mood of the song.
Anyway it got me thinking, I've never noticed my dogs react to any kind of music, including when either of us are playing our instruments at home.
Do they enjoy it? Does it piss them off? Obviously language is beyond them, but what about tempo? Melody?
Do your pets bop along to Nicki Minaj?
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2020.05.22 02:01 henrywinklerfan WHY LANA CARES SO MUCH ABOUT CRITICISM (in my opinion!): An open discussion and analysis ❤️

(Ignore me if you’re not interested in a casual analysis! No hate is directed towards anyone or any artist. I just want to discuss my feelings about why negative criticism has always hung over Lana’s psyche like a rain cloud.)
This really has nothing to do with her instagram post, but instead deals with why she felt the need to write it in the first place. I find it fascinating that people are shitting on Lana for her voicing that she still feels resentment towards the media and the GP for unfairly and inappropriately ridiculing her, insulting her, disparaging her from the start of her career all the way through basically last year.
Lana wrote and produced every single song on NFR with one other person (with that second person typically switching between Antonoff and Nowels). Most of the songs were written before her producers even became involved, but it’s typical for an artist to credit their producer for contributions they made in the studio. If you look through Lana’s entire discography dating back to her work as Lizzy Grant, nine times out of ten she is either the ONLY SONGWRITER or one of two, maybe three songwriters (exceptions made for high budget songs like National Anthem in which she features more than 2-3 writers.) Occasionally, the songs producer will be credited alongside her as a songwriter. On all of her records combined, the average number of songwriters per song bottoms out at TWO each time.
Lana’s image, her story, her words, her narrative matters so much to her because what she writes is her honest to god truth. Whether it’s completely based in fact or a reality of her own making, she has always been obsessed with controlling HER WORDS and HER STORY.
Lana continuously cites some of her earliest influences as everyone from singe songwriters like Bob Dylan and Joni Mitchell, to pop superstars like Frank Sinatra and Whitney Houston. It’s obvious that she draws personal inspiration from the first two. Since the beginning of her career, she has always wanted to be considered a singe songwriter first and foremost. Dylan and Mitchell are intimate folk singers hellbent on telling their story’s THEIR way. Sinatra and Houston are superstar powerhouses who used their advanced vocal abilities to sing songs written for them by other people (neither have many- or any- songwriting credits). All of these people are artists and all of them are geniuses.
What I’m trying to do here is set up the distinction in these two kinds of musical artists. Oftentimes, Dylan and Mitchell were scrutinized for their personal lyrics and their music was scoured for links back to their real life partners and real life experiences. With artists like Sinatra or Houston, their personal lives were hugely fascinating to the public and they were always considered tabloid fodder, but not because of their music and lyricism because it was not usually based in the truth of their realities.
What’s so interesting about the artists Lana chose to mention in her recent Instagram post, is that they nearly all fall into the second half of the musical categories I compare above. Sure, many of them directly project their real life into their music (most notably Beyonce and Ariana), but they are not singe songwriters in the traditional sense.
On Doja Cat’s “Hot Pink”, the fewest number of songwriters credited on a given track were three, the highest number was ten. The average was six.
On Kehlani’s “It Was Good Until it Wasn’t”, the fewest number of songwriters credited on a given track were one (a hired writer, not Kehlani herself), the highest number was ten. The average was six.
Ariana Grande’s “Thank U, Next” had a low of four, a high of ten, and an average of six.
Cardi B’s “Bodak Yellow”, had a low of five, a high of seventeen, and an average of eight.
Nicki Minaj’s “Queen”, had a low of two, a high of seven, and an average of four.
Beyoncé’s “Lemonade”, had a low of two, a high of fifteen, and an average of six.
Cabello’s “Romance”, (not even sure why Lana bothered mentioning her... no hate...LOL), had a low of two, a high of seven, and an average of five.
With “Norman Fucking Rockwell”, Lana’s high, low, and average songwriting credits were all two (aside from Doin’ Time, which was a cover and featured several writers.) TWO writers on every song. Every song was written by LANA DEL REY and ONE other producer (in this case, typically Antonoff.)
(I offer all of this information as a frame of reference, not to shoot anyone down or state that one kind of artist is better than another.)
To me, in my HUMBLE opinion, it feels as though the reason that Lana holds her criticism so near and dear to her heart, is because this music IS her heart. These are her thoughts, her experiences, her words. DIRECTLY. Not watered down through a team of writers. Not through the lens of another persons opinion.
I am not saying that that isn’t a true statement at all for the artists she mentioned, but even beyond those women, the majority of highly successful mainstream artists releasing records today are simply not writing or producing their own music.
We are listening to Lana’s stream of consciousness, her deepest thoughts, wants, dreams, and desires. Her words are completely her OWN. They’re not from the minds of over a dozen other (typically male, sorry), songwriters or producers.
I’m not saying that she’s right or wrong. Im not saying that she phrased things in the most intelligent or eloquent way. I’m simply stating that she hangs onto criticism for SO LONG because her music is HER LIFE. She says it best herself “my lovemaking is my legacy”.
I’m just posing the question that MAYBE, just maybe, she is more easily offended by the criticism that is aimed at her because this is music directly coming from her soul to our screens, hence why she posts so passionately, so rashly, and so bluntly.
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2020.05.07 22:43 discoskyline -cQetGMzWgw

Ultimate Dance Competition... This week's challenge is technique. I though Tiffany was the bully! It is not Tiffany, it was you! ♪ ♪ Trinity... today is not your day. I'm gonna stop you right here, because I'm gonna use my callback card for you. Oh, my God! (Richy laughs) You are staying at Abby's Ultimate Dance Competition. (crowd cheering) ABBY LEE: And tonight... Our theme is divas. The skill is performance. Please welcome Miss Asia. What is going on? ♪ ♪ You'll never win, believe me. Right. Time for her to go! (cackling) You have to give us more. This is the top five. You make sure you bring it more than Gianna today. That was... a mess. ♪ Oh-oh-oh-oh-oh, oh, oh ♪ ♪ Tonight we're the all-stars ♪ ♪ Gonna go all out into the night ♪ ♪ Spend all our money ♪ ♪ Forget about all our problems ♪ ♪ We're all-stars, gonna go so hard ♪ ♪ Dance in the sky ♪ ♪ You'll see us shinin', lights are blindin' ♪ ♪ We're the all-stars tonight ♪ ♪ Oh, oh, oh-oh-oh, oh, oh-oh-oh-oh-oh ♪ ♪ Tonight ♪ ♪ Oh, oh, oh-oh-oh ♪ ♪ W-W-W-We're the all-stars tonight ♪ ♪ Now we're the all-stars. ♪ Good morning. Let's move it. CINDY: We're at top five, and everything is getting crazy. It's nerve-racking, it's emotional. We're all here to win. Welcome back. The last callback card has been used. TINA: Trinity came close to going home. She's coming back with a vengeance, I'm telling you. This week, our theme... is divas. The skill is performance. JOJO: This week is my week, because it's diva week. I'm just gonna blow everyone away. This week's challenge is another dance battle. Yes! Now, each one of you are going to battle the ultimate diva. Please welcome Miss Asia. GIANNA: I cannot believe Asia is here. Asia won the dance battle challenge last season. I am not super excited about battling her. How are you? KIRA: Knowing Asia, and what a performer she is, my first thought: Kalani, you better turn it up. Asia... is younger than every single one of you. Let's go! JESSALYNN: This is for JoJo to out-diva everyone. Trinity is going down, McKaylee is going down. Gianna just doesn't have that star quality. And Kalani... girl, you are not gonna win this battle. Is everybody warm? Asia... you're Abby's ultimate diva, season one. I want to see who is Abby's ultimate diva, season two. I need the attitude and the aptitude. McKaylee, we're gonna start with you. SHARI: Come on, McKaylee. Bring your face, girl. ♪ ♪ ABBY LEE: And go, McKaylee! SHARI: McKaylee needs to bring the fire, not just the technical merit. I'm just hoping that this little girl doesn't show up my daughter. ♪ ♪ ABBY LEE: Come on! ABBY LEE: Oh! Oh, Asia, she just told you off. Go back up. You're safe. JoJo, it's time to put up or shut up. ♪ ♪ CINDY: JoJo dances like a little baby, compared with Asia. JOJO: Basically, me and Asia, right now, are doing the same exact thing. She's doing face, I'm doing face. She's doing booty popping, I'm doing booty popping. ♪ ♪ Oh, yeah. Take that, JoJo! Oh, no. Oh, no. You can't copy the moves. JoJo... SHARI: JoJo's two years older than Asia, and... I think JoJo got eaten alive this morning. Kalani, let's go! ♪ ♪ KALANI: Going into battling Asia, I knew that I had to, like, step up my game, because she can pretty much do everything that I can do, but she's seven. And go! ♪ ♪ All right, Kalani, you're safe. Get back up there. Gianna. Come on. ♪ ♪ JESSALYNN: Gianna has no confidence. None. You cannot have any insecurities when you're battling that little diva. GIANNA: Asia dances like a little kid who had too many Pixy Stix at a club. (laughing) Gianna, you're clapping for her! You're out! GIANNA: She's seven years old. Of course I'm gonna laugh if she's booty popping in my face. You clapped for her! Come on! You were great, honey. And I'm glad you clapped for her. She was cute. ABBY LEE: She's the enemy! You don't clap for her! Trinity. TRINITY: It's just, like, really weird to go home, then come back. So I'm really gonna have to show Abby that even if you put me in the bottom, I'm never gonna give up. Let's see what you've got. I'm gonna win the challenge. ♪ ♪ TRINITY: It's like I'm battling, like, myself. We have the same body tone. We're so small and compact. ABBY LEE: Oh, yeah! Send her home! Trinity, you're gone. She came after you and got in your face, and you let 'em see you sweat. I was surprised; she held back. She should've just rocked it. Sometimes she has to lose in order to come up on top. ABBY LEE: All right, ladies. You made it through the first round. Who will win our performance challenge? This is round two. We're changing it up a bit. You two will face off. And, Asia, you're gonna help me judge. Kalani and McKaylee, they gave Asia a run for her money. But I'm looking for a diva. ♪ ♪ Kalani is... a Abby favorite. But there is a maturity missing when she dances. JESSALYNN: McKaylee... you look like a pedestrian walking down the street to buy a loaf of bread. Could you start dancing soon? Because you're boring me to pieces. Didn't see too many tricks that I haven't seen before. KIRA: McKaylee-- she wasn't fierce. She was just like, "Look at me, I'm pretty." ABBY LEE: Oh! I think we have a winner! McKaylee... Kalani... one person stepped on stage and exploded. Kalani, you are our challenge winner. Congratulations. Kalani used the stage. She came after you and got in your face. And you did that sissone pitch jump... twice. Congratulations, Kalani. Everybody up on stage. Kalani, ha! She won. Go figure. Does Abby have, like, a screw loose somewhere? All right, Kalani, for the reward, you will get to pick your routine. And... you pick the next person who gets to choose their routine. And so on. We're going to do a little... diva chain. Winning the challenge feels great because... I like being in power. You can pick a contemporary solo based on Cleopatra. A jazz-funk routine based on Marie Antoinette. You could choose sassy jazz routine about a movie star. Or... a hip-hop duet based on stars like... Nicki Minaj. GIANNA: In the diva chain, I'm really hoping to get contemporary. It's really crazy knowing that one of us is gonna get stuck with whatever's left. Are you ready to make your selection? My sassy jazz last time blew the judges away. That might be good to do it again. I was great and I won them over. I want the sassy jazz routine. So, you played it safe and took the sassy jazz. I wonder if you'll regret that decision. Now you get to pick who goes next. JoJo. JoJo! There are two solos left. Both of them, I think extremely interesting. I have no idea who Maria Antoinette and Cleo Pacho is. I mean, who are... who even are those people? I would love to have the hip-hop duo. You want to do the hip-hop duet? Psh, that's me. Now, choose the person that gets to pick their routine next. Be very careful. No. JESSALYNN: Pass it to Trinity because if I get paired with Cindy, I will kill you. She is off-the-deep-end crazy. Okay. JESSALYNN: Trinity's hard to dance with. She's a big performer, too. But I think at least with Tina, she has, like, common sense and credibility. I pick Trinity to go next. I would also like the hip-hop duet. What an interesting turn of events. The last time Trinity and JoJo danced together, JoJo was outshined by Trinity. ABBY LEE: JoJo, standing next to Trinity, you disappeared. TINA: If I was her mother, I wouldn't have picked hip-hop. Trinity, there are two solos left. Who is going to get to pick the solo that they want? McKaylee. Really? You're setting me up with failure. Now I'm stuck with the worst number. It is getting on my damn nerves. McKAYLEE: Um, I would like to do the contemporary, the Cleopatra one. Gianna, you will portray the role of Marie Antoinette. GIANNA: I don't know who Marie Antoinette is. I have a lot of homework to do. She really is in the JoJo world. Like, she really thinks she's better than everybody. Who cares? Are you not a teacher? Don't you go home and teach...? Any attention is good attention, Cindy. God. Do you not know that? KIRA: Cindy is attacking Jessalynn once again. CINDY: You know what's funny? Those girls are gonna smoke her in this diva dance. KIRA: Any time Cindy talks, I just turn off and block. It'll look ridiculous. She can't keep up with the big girls now. Look in the mirror, you'll see ridiculous. I think the biggest problem I have with Jess is she's stupid. You'll never win, believe me. Right. Time for her to go. Bye-bye, JoJo. You've been saying that for a while, but you've been wrong. (cackling) JESSALYNN: Welcome to diva week. ABBY LEE: Coming up... Turn that foot out! You have to give us more. This is... the top five. VICTOR: Six, seven... (whoops) Ah, yes, bigger! ABBY LEE: This week, we're doing performance as our skill. And the theme is divas. JOYCE: Look at that audience. Lots of fun, lots of sass, lots of personality. Diva. I love it. So, you're going from, "Oh, coffee." "Oh, a camera! You want me to perform?" All this character's got to come in, you know? Lights, camera... action. KALANI: I got to pick my dance this week, and I chose sassy jazz, because I killed it last time. Might as well just do it again. One, a-two, three, a-four. Yes. I got style, I got sass, and I can work it. VICTOR: Take your time, take your time. ABBY LEE: Kalani won the challenge. I think she should've done a slow, controlled, elegant, contemporary routine. What does she do? She makes the completely wrong choice. What are you thinking, kid? I just think that it was your moment to show us something different. I mean, mesmerizing contortion acrobatic tricks. (snaps fingers) Use it, sweetie. That's your asset, and you're not doing it. VICTOR: Switch that... one-arm walkover. We'll do that into an aerial, and then we'll do the other side. ABBY LEE: I just hope that she didn't make a mistake by not doing the contemporary dance. I'm not sure that my kid's "sassy jazz" choice was the best choice for her. But she can perform, so I think she's fine. ♪ Welcome to the show of Trin and Jo ♪ ♪ Shake it out, boom ♪ ♪ Shake it out, ha. ♪ Dancing with Q as a choreographer is really, really fun. You guys are like a hip-hop super group, and that this is the opening number of your concert. So it's got to be like... Whoom! Hmm. Ha! Mmm. Yeah? It's all about the attack. He's like, "Gah, gah, yah!" And I'm just like, "Yes!" Two, three, four, five, six, seven, eight and shout, shout, shout, dune-dune, cah! Five, ooh, seven and eight! Yeah, one more time for JoJo. With JoJo, it's always a timing issue. JoJo can't dance up to my level. Cah-chu, cah-chu, cah-chu, cah. Yes, exactly. We need something to partner up with that. That's perfect. I just be like, "Hey, hey, hey!" Right, and then you'll be "hey-ing" on home. (laughs) This is the diva week. This is for JoJo to out-diva everyone. Q: Need to see two hip-hop divas. Not one and a half, not one, not none for the whole performance. JOJO: I don't feel like Trinity's too good. I can be better than her. It's crunch time. JOYCE: Dah, dah, dah, dah, dah, dah, bow! Harder! Ha! Hup! Hup! It's lazy, it looks lazy. I'm nervous for my solo because I didn't even get to pick my dance. I just got stuck with whatever's left. So I have a lot of homework to do. Pow! Uh, see... Know what happened? Point that foot and heel. Edgy Marie Antoinette, right? You didn't get your way. Find something that, um, that motivates you to want to kick, to want to, you know, have a tantrum. CINDY: What the hell? I do not want these mothers coming in and watching my daughter dance. Jessalynn's a snake in the grass. The woman drives me crazy. Huh, hip! (groans) Bup, bup! JESSALYNN: Since Cindy felt necessary to pick on JoJo, I thought I'd pay her a little visit today at Gianna's solo rehearsal. JOYCE: You've lost the diva-ness at the beginning here. JESSALYNN: I think Gianna is out of her league here. And when it comes right down to it, it shows. Go from the kicks. I think it's good to do that over and over and over again. She kept getting flustered, and they kept going over and over and over things. Hold that knee in close. Now, lift that heel. Heel, heel! Heel up to the ceiling. I think we're good. Bye, guys. JESSALYNN: After seeing Gianna's dance, I am not worried about a thing. The hip-hop duo-- it's way better for JoJo. We've got this in the bag. I am so glad I didn't pick that one, it is not funny. (chuckles) ♪ ♪ McKaylee is Cleopatra this week. This is the night before she gets crowned, and she's to become this beautiful queen. ♪ I-I-I-I am so beautiful ♪ ♪ Oh, yeah, I am so beautiful. ♪ Turn that foot out! All right, you have to give us more. This is the top five. No more callback cards, no second chances. Somebody is going home. I'm really worried that the judges aren't gonna think I'm diva enough. I see tears in your eyes. What's the matter? I just didn't like it. I came from Nebraska, and Nebraska's just corn and wheat for miles. I grew up that way. And I feel like for my solo, I have to find an inner diva that I just need to kind of pull out somewhere. The theme is diva. I'm not a diva. We have to give it our-- everything you have. (sniffles) Not this week. ABBY LEE: Coming up... I'd like to (bleep) punch her in the face. She is such a bitch. I'm really getting pissed. Diva week. Here we go. (sighs) Back to the bump and grind. Mom, I need eyelashes. Ow! TINA: You okay today? Mom, I'm fine. JoJo, dance as big as you can and don't hold back. JOJO: I'm not really afraid that Trinity's any better than me, because she went home, basically, last week. She would be long gone by now. She would be at home crying in her bed because she left. Give it your all. Kill it, okay? I still don't understand why JoJo picked hip-hop. But Trinity will not dance down. This is not a time to dance down. So if she has to leave someone in the dust, then she's going to. This week is performance, so it's all about your diva. So now you have to show Richy and Rachelle. Kalani wanted a sassy jazz to perform. I don't know if she made the right choice or not, but, Kalani, you better be a diva. (applause, cheering) Look at this! I'm Kevin Manno. Welcome to the stage show of Abby's Ultimate Dance Competition. We still have five players in the game to win $100,000 and that scholarship to the Joffrey Ballet School of New York. Make some noise for Rachelle Rak! (whoops) Richy Jackson! And of course, Abby Lee Miller. Every one of these dancers has fought to be here. But tonight, it's all about the performance. I need to see diva attitude. The competition is going to get interesting tonight. Time for our first solo performance of the evening. Just do your best. This is gonna be Gianna's third solo. And she has a hard time with feeling confident. Every time she gets on that stage, Abby's just knocking her down. Leave everything out on that stage, okay? But this week, performance week? This is where my daughter will shine. Please welcome Gianna to the stage in a piece called "Let Them Eat Cake." (opening to Beethoven's Symphony No. 5 plays) (hip-hop music playing) ♪ I wanna look like they do in magazines ♪ ♪ And then I'll walk around like I don't care ♪ Yeah, live it. Live it. Let it. Get it. ♪ Vogue, whoa-oa-oh, c'est la mode ♪ ♪ C'est, hey-hey-hey ♪ ♪ No, whoa-oa-oa, vogue ♪ ♪ We don't mind, we don't mind the things we do for fashion ♪ ♪ We don't mind, we don't mind ♪ ♪ The things we do ♪ ♪ For-for-for-for-for fashion ♪ ♪ For-for-for, the things we do for fashion ♪ ♪ For-for-for, the things we do for fashion ♪ ♪ For-for-for, the things we do for fashion. ♪ (song ends) (cheering) Oh, my God, that's so good! KEVIN: Let's hear it for Gianna! Abby, we'll start with you. Is Gianna proving that she belongs here? (crowd booing) Boo! Okay... there's some technical things. I just have to address the battement combination. It was the front, the front, the side, the kick your head. You didn't kick your head. Understand? And look down at your shoes, honey. The shoes are dirty. Why do your shoes not match your leg? Should I go on? Was it good? Yes. Was it good enough? I don't know. The performance... the skill is performance, right? It this about performing or what? Performance. (crowd cheering) Good job. From the top, as soon as the lights went down, and you hit that... (humming) I was in. Your facial expressions, commanding. I loved the cake, I loved the outfit. At the end of the day, this performance was so everything, I didn't look down at your feet, 'cause I didn't care anymore. CINDY: That's performance! Performance night! RACHELLE: Marie Antoinette, you were glamorous, glorious, and you were on fire. (crowd cheering) Thank you. You showed strength, versatility, the turns, the jumps, the effortlessness. That is a professional. It was one of your best performances, for sure. RICHY: Yes, I agree. Let's hear it for Gianna. Judges, thank you so much. You can head back to the green room with your mom. (crowd cheering) Great job. Come here, baby. That was freakin' awesome. That (bleep) Abby. I'd like to (bleep) punch her in the face. Really, she is such a bitch. Come on, Abby. Really? We're worried about her shoes? I'm sick of her yakking away, her stupid (bleep). Mom, could you, like...? I'm really getting pissed. At any moment, I would have ran up and wrung her neck. So there's nothing we could do about it. I don't care what she says. Mom, calm down! It's okay! ABBY LEE: Coming up... Big performance, okay? This is your favorite, Abby, so let's hear it. KEVIN: For winning the challenge, she got to choose her dance; do you think she made the right choice? No. Be Cleopatra. I'm just not sure that McKaylee can bring that kind of a diva to the stage tonight. I'm nervous McKaylee will be going home tonight. This next dance is a number inspired by Cleopatra. Please welcome McKaylee. (applause) (acoustic guitar playing pop music) ♪ When I look in the mirror ♪ ♪ I want to be beautiful ♪ ♪ 'Cause I just got my hair done ♪ ♪ I want to be beautiful ♪ ♪ And when a stranger sees me, I-I-I ♪ ♪ I want to be beautiful ♪ ♪ And when I'm praying on my knees ♪ ♪ I-I-I want to be beautiful ♪ ♪ Sometimes ♪ ♪ I start to losing my mind ♪ ♪ And somewhere in me ♪ ♪ It says that I-I-I-I ♪ ♪ I am bound to be ♪ ♪ Beautiful ♪ ♪ Bound to be beautiful ♪ ♪ I'm gonna be so much more ♪ ♪ Yeah, I want to be beautiful ♪ ♪ I want to be beautiful ♪ ♪ Want to be beautiful ♪ ♪ I am so beautiful ♪ ♪ Want to be so much more ♪ ♪ Yeah, I want to be beautiful. ♪ (crowd cheering) That was good, though. She had a lot of jumps. Tonight, you were... ...diva. You had beautiful technique. You used your feet. When you used the vanity to lean on for the tilt, you always want to keep your arm in line with your leg. Like, the same parallel line. Okay. I thought it was fantastic. (applause) Yay! This is the person that I always want to see dancing. You were a diva whether you were looking at us or not. The performance element was great. So great job. Thank you. McKaylee, if your prop is rolling on you, it's because you're pushing against it, rather than down and lifting yourself. But what I did see was a lot of stillness and strength. It is lovely to see you do that and to be in character. Very good. Thank you. Yay! That was so... McKAYLEE: It is so amazing just hearing the judges say that my performance was great, and Richy actually saw what he needed to see. And it just... everything just lifted off my shoulders, and it was great night. All right, kid, you got this, right? Yeah. KIRA: Hopefully, Kalani proves that she made the right choice, and hopefully all works out. Big performance, okay? Please welcome Kalani. (applause) All right, let's watch. (pop music playing) ♪ Lights, camera, action ♪ ♪ Raw perfection never looked so good ♪ ♪ No connection ♪ ♪ NYC to Hollywood ♪ ♪ Such a stunner ♪ ♪ You want a little insight ♪ ♪ Catch me later ♪ ♪ On Entertainment Tonight ♪ ♪ When you know what you want to be ♪ ♪ Yeah ♪ ♪ You make a dream reality ♪ ♪ Yeah ♪ ♪ That's the life for me ♪ ♪ That's the life for me, me, me ♪ ♪ Come on, give me, give me ♪ ♪ Lights, camera, action ♪ ♪ That's where everything happens ♪ ♪ I need to live in that ♪ ♪ Life so glamorous ♪ ♪ It's a rush ♪ ♪ Are you ready for the bright lights ♪ ♪ Big time, I say ♪ ♪ All right ♪ ♪ Yeah, I'm really eating it up ♪ ♪ Come on, give me, give me ♪ ♪ Lights, camera, action ♪ ♪ Oh ♪ ♪ That's where everything happens ♪ ♪ I need to live in that life so glamorous ♪ ♪ It's a rush ♪ ♪ Give me, give me lights, camera, action ♪ ♪ That's when everything happens ♪ ♪ Take my picture ♪ ♪ Make sure I'm fabulous ♪ ♪ Fabulous ♪ ♪ Oh, oh. ♪ (shutter clicking) (crowd cheering) This is your favorite, Abby, so let's hear it. KEVIN: Abby, she got to choose her dance; do you think she made the right choice? No. We saw a tilt. You took it over; I think everybody can probably do that. I wanted you to do something like an acrobatic solo that would have every single person in this audience speechless. That's what being a diva is. Untouchable. RICHY: It wasn't bad-- great choreography-- but as far as what I need from Kalani, I need a diva. I need someone who's not afraid to show me the inside, the character, the personality, because you have everything else. RACHELLE: I thought it was a sassy diva out there that I was watching. The moment you hit that first pose and crossed your leg and held on to the chair, you were a diva. Thank you. So great improvement, and thank you. Excellent. KIRA: Rachelle definitely gave Kalani credit and said that she stepped outside the box, out of her comfort zone. And she did. I don't want them to see me. Kill it. All right. Like you've never killed anything before. JESSALYNN: I don't want JoJo to know this, but deep down inside, I am freaking out. The last time Trinity and JoJo did hip-hop together, Trinity was so powerful. JoJo needs to match that power. Otherwise, we'll be on the chopping block. Please welcome Trinity and JoJo. (applause) CINDY: All right, here they go. ♪ We're gonna shake down the heavens ♪ ♪ We're gonna shout it out ♪ (upbeat pop music playing) ♪ So if you want it ♪ ♪ Yeah, you got to shout out ♪ ♪ Scream it loud ♪ ♪ Tell them what it's all about ♪ ♪ What's that sound ♪ ♪ Coming up from the crowd? ♪ ♪ And pull my toes to my head ♪ ♪ Making me see red ♪ ♪ Uh, uh, uh, uh, uh ♪ ♪ Uh, uh, uh, uh, uh ♪ ♪ Uh, uh, uh, uh, uh ♪ ♪ Uh, uh, uh, uh, uh ♪ ♪ We're gonna shake down the heavens ♪ ♪ We're gonna shout it out ♪ ♪ Oh, oh, oh, oh, oh, oh, oh, oh, oh, oh ♪ ♪ Oh, oh, oh, oh, oh, oh, oh, oh, oh, oh ♪ ♪ Oh, oh, oh, oh, oh, oh, oh, oh, oh, oh ♪ ♪ Oh, oh, oh, oh, oh, oh, oh, oh, oh, oh ♪ ♪ Let me hear you shout ♪ ♪ So if you want it ♪ ♪ And if you need it ♪ ♪ And you won't back down ♪ ♪ If you believe it ♪ ♪ Then you got to shout out ♪ ♪ Scream it loud ♪ ♪ We're gonna shout it out ♪ ♪ Oh, oh, oh, oh, oh, oh, oh, oh, oh, oh ♪ ♪ Oh, oh, oh, oh, oh, oh, oh, oh, oh, oh ♪ ♪ Oh, oh, oh, oh, oh, oh, oh, oh, oh, oh ♪ ♪ Oh, oh, oh, oh, oh, oh, oh, oh, oh, oh. ♪ (music ends) (crowd cheering) Rachelle saved Trinity last week with her callback card. What do you think? Well, honey, you brought the sass to the table. You-you know... I mean, if I could just go like this and throw my... I just want to go, "Take it." Put it on; you deserve it. You are the epitome of strength and power. Thank you. Thank you, thank you so much. Thank you. Trinity, not only did you give me diva, but your performance was top competition level. So great job; I'm so proud of you. Thank you, thank you so much. I don't have anything to say. Aah! RACHELLE: That's a first. (crowd cheering) RICHY: Now, JoJo-licious, as far as the performance goes, I don't want to say that hip-hop's not your thing. I feel like hip-hop is your thing. It just might not have been good next to Trinity, because she left earth. This routine, you should've killed. RACHELLE: JoJo, you don't hit the steps quite as hard, with quite as much momentum and strength that I would like to see. You back off, you get a little bit behind the beat, you're a little delayed. And I don't want that to happen. ABBY LEE: JoJo, that front walkover that you did, your arms weren't by your ears, your head wasn't the last thing to come up. You were a beat behind once again. This week, "the performance week," was made for you. When you do your solo, you're a star, but not standing next to Trinity. Choosing this duet and then throwing the diva chain to Trinity was not a smart choice. I don't know what you were thinking. Yeah, that was the dumbest move she could've made. Jess should have never listened to her nine-year-old. I would've been like, "You're doing the solo, that's it." I would've said that, too. JOJO: Honestly, it kind of sucks when Abby has nothing bad to say about Trinity, and she has nothing good to say about me. But you know what, Trinity may have danced better than me, but I know I'm a good dancer. (crying) ABBY LEE: Coming up... I was looking for an outstanding performance. That was a mess. One of you is going home tonight. Well, here we are. The fierce five. Not too fierce tonight. The challenge was performance. Kalani-- I thought she would've wowed us more doing something different. Not the same old, same old. You thought she was gonna choose a lyrical or contemporary. Whatever her excuse was, it was wrong. This was not a good choice for Kalani-- a step down. I wanted more from her. She may have just reached her peak. I've made it this far; I've made it to top five. I, of course, want to stay here till the end. McKaylee? I don't think McKaylee is going home. I feel like she's taken the most critiques and actually applied them. ABBY LEE: I need to see her make wiser decisions for her body, for her lines. Okay. That back attitude could've been lengthened and extended. She needs to arch her back. RICHY: The duet. Well, was it a duet? Not at all. The duet. It was a solo. It was not a duet. It was two solos side-by-side. RACHELLE: The one thing about JoJo, if anything, she is a performer. She is just loving being onstage. Why would JoJo say, "I want to do a hip-hop duet next to Trinity"? Well, that was definitely a wrong move on JoJo's part. Yes. She got blown away. I think that bleach is just sinking into that kid's brain. Is one bad choice enough to get JoJo sent home? JoJo, you're good, you danced good. I'm not known for my technique. I'm known for my performance. I'm known for my stage presence. I deal with cute day in and day out. If the judges send JoJo home on performance week, they're crazy. All right, next up, Gianna. She commanded this stage. She... yeah. She commanded it. She gave more command tonight, I think, than anyone. Than anybody. I have a problem with Gianna's dancing. Her technique-- I just don't see a lot of flexibility. You can't kick your head and not even come close. Okay. And she was like... (grunting) Well, we know her strength is not in the flexibility that we talk about. Right, so you don't do whack, whack, whack. Well, I thought she was hitting it. I thought she... She never has anything nice to say to her. Never. We're gonna hand somebody $100,000 in cash and a full scholarship to the Joffrey Ballet School of New York. Right. That's amazing. ABBY LEE: Who's gonna go there and use that training the best? Who's gonna represent me the best? We will see about that. GIANNA: Going into elimination, it's definitely a lot more pressure, knowing that there's no more callback cards and there's no more second chances, and that whoever gets eliminated tonight is really going home this time. ABBY LEE: I was looking for outstanding performance. Did people stand out tonight? Yes. Were they perfect? No. Gianna, I want you to have better feet, and I certainly, certainly expect for you to get more flexible. The only reason that your legs aren't up to here is because you don't care. You don't want them to be there, because if you did, they'd be there. Don't think about it, don't talk about it. Just do it. Richy and Rachelle loved you. So you're staying for one more week. Go see your mom. (applause) Congratulations, sweetheart. I didn't know Richy and Rachelle had so much power over Abby, 'cause I know Abby did not want her safe. I stretch every night. I know you do. McKaylee, show us that you're more than just another pretty face. Cleopatra... ...continues to reign as queen of the dance floor. (applause) Thank you. Trinity, after almost going home last week, you have proved that you are a contender for Abby's ultimate dancer. Go see your mom. (applause) KEVIN: All right, down to two. Can you two moms please come join? Thank you. Both of you started out day one as divas. Kalani, you came to this competition the dancer that everyone aspires to be. You won the challenge, and you had the opportunity to be a movie star. I don't think you made the best choice. JoJo, your buddy here handed the diva chain off to you. I think doing a duet with Trinity was a mistake. We wanted to see you come out and wow us. That was a mess. One of you is going home tonight. Kalani... ...you've got one more week, kiddo. My God. JoJo, today is not your day. Okay. (crying) (applause) You did good. You know, all I really would like to say to you is thank you for this experience, thank you for having me here. I'm nine years old, and I'm in the top five of Abby's Ultimate Dance Competition, which is huge for me. (applause) That's a great attitude. She continues to impress. Standing ovation. (crying) I don't want you to leave. I-I don't want it, either. I have to. KIRA: JoJo and Kalani, they're best friends here, so Kalani is devastated. You did good. No matter what anyone says, you did good. All right. All right? Eventually, everyone's gonna go home. Eventually, everyone... I know, your heart's broken. I know. It's okay. CINDY: The kid, as annoying as she was, stayed till top five, so good for her. It was time. Let's go home. Okay. All right, let's go home. JOJO: I'm very proud of myself for making it this far in the competition, but I'm gonna be honest, I can't believe it's over. It's okay. JOJO: Kalani, if you don't win this, I'm gonna slap you as hard as I can. Do you have any last dance moves to do? It's okay. ABBY LEE: Next time on Abby's Ultimate Dance Competition... This week's theme is "down the rabbit hole." This is the last competition before the finals. Shut up! SHARI: The only person you were thinking about was you! No (bleep)! It's $100,000, bitch! I'm here to win. KIRA: So just say, "Okay," and get over it. ABBY LEE: We've all had a long night. Some of us got on the "go home" list. This is killing me. Captioning sponsored by A&E TELEVISION NETWORKS
submitted by discoskyline to discoskyline [link] [comments]


2020.05.01 09:10 saviourforall I think I may have been a bad friend and not sure what to do

Clarification of Friendship: Met in a university course and have been friends ever since (2016-present) We are extremely tight, like talking on the phone/Facetime everyday (we do take breaks here and there). We talk about everything, financial issues to rapping Nicki Minaj. We communicate well or at least I thought.
Anything in " " is a direct quote from my friend talking to me
Issue of Matter: I have been brief with messaging my friend (due to work and just tired). I was going to Facetime with them but before doing so I got an IMessage that he wanted to talk another day that he was having issues with his partner (not going to go into much detail). Thus, he didn't want to "talk n pretend everything is cool"
Fair so my initial response was, Oh okay and I was going to message I'll talk to him tomorrow, but he messaged thanks and then says, "i mean we can still message just not talk on the phone"
This is where I went wrong, instead of asking what was wrong with him and his partner, I moved the conversation to something else. I don't know why, maybe tiredness. He asked what I was doing and gave a list.
He then asked if he could ask me an honest question. I responded with of course.
He then asks if my friend (Friend B) said what he said would I have comforted Friend B and I was like of course. He goes one about Friend B, how we are tight and asking about my relationship with Friend B.
He then tells he he's "not feeling any support from anyone, but everyone is different. I'm not saying you have to be, but I'm always wondering how your day is or always try to be there for u even if u don’t want it. Even when ur having bad days, I'm always how your day was and to vent things out"
I asked him if he was asking me to put more effort in the relationship and I told him I can if it feels like I'm slacking.
He tells me he isn't asking for that, but how with Friend B I seem to be more there for her, but his issues I'm more it'll be okay. (He's been with his partner for 5 years, barely talks about him and they normally communicate pretty well). Even when things get bad the way he address it is normally okay or will be okay. I do normally communicate with my friend, pointing out both perspectives.
It just seemed weird/off I think its more this was bothering him before and today was the tip of the iceberg.

He kept saying that he would never ask me to put more effort into our relationship. I told him with Friend B we have similar dating styles and that she goes more into detail allowing me to understand more of what is happening.
He responds, " i don’t go into detail because I'm not sure if you want to really hear it"

This is where I fuck up again, I'm now talking about his partner and then said it was odd why he was having issues with his partner (earlier in the convo as he stated).
He then proceeds to point out why I took so long to ask or tell him that I'm here for him if he needs me. He then tells me I don't have to do these things but that he's just showing me because the tiny stuff in a friendship is the biggest. Then proceeds to tell me that I should, "think about when I ask you about how you’re doing and how I'm there for you", but then he also states how he's not saying I'm not there for him.

At this point I feel like I'm being gaslighting (maybe not the right term)

He said he wasn't trying too and this is why he always states, "I don't want to ruin your mood and don't share certain things"
I agreed with him and apologized for not asking him about his issues with his partner and that if I made him feel like he didn't care.
He did tell me that me was, "upset because "m always ready for you and you know at the end of the day I am your biggest fan"
He then proceeds to tell me how he's "going to disappear for a while and that you are free to light me up" (Last year I called him in pure rage to tell him where the sun could shine due to miscommunication, he was over it and we laughed it off)
I told him to message him if he did need me.
He then proceeds with some long messages. How he is all in when it comes to friends and relationships. That he's going to ghost for a few days and how not talking to me will suck because he loves talking to me. That he's ghosting because he doesn't want me to feel thrown under the bus and that I am free to cuss him off and the two to give me time to digest of what just happened.
I really didn't know what to say.
He kept going on how he's going to go quiet for a while, that it isn't his intention to hurt me, that he did this before with another friend and they left him, that he can be dramatic and he's okay if I don't want to talk to him, but regardless he will always be here for me.

..... I don't really know how to move from this seemingly stalemate. I do feel bad but it is a pet peeve of mine when friends try to say I do XYZ for you. You do things as friends because you want to, no one is forcing you to do anything, like I'm there for my friends, I support them, I listen to them. I do it not because they do it for me but because I want to. I also don't like how he keeps bringing up the incident from before but I never talked to him about it so that's on me. I also don't like how he kept going like oh I'm not asking for more effort, but see how I do XYZ for you like mate the fuck you want then. I'm just annoyed right now, but I don't want to throw a three year friendship. So advice on how to move forward.
submitted by saviourforall to Advice [link] [comments]


2020.04.30 06:09 JackieMethyd All Stars 6 Episode 6 Part 2 (COMEBACK QUEENS): J&M Fantasy Seasons

I am so sorry that I haven't posted in a while. Life has been very busy, but I am ready to post on here regularly. Thank you to everyone who has been following this series(: This is part 2 of my last post, so for an explanation of the challenge, check out my first post here: https://www.reddit.com/RPDRfantasyseason/comments/g2lo77/all_stars_6_episode_6_comeback_queens_jm_fantasy/
Queens complete their makeovers:
In the Werkroom, all ten queens are present for the first time since the beginning of the season. Nina Brown asks the girls how everyone is doing in the competition. Plastique says that she is really proud of her track record and thinks she can win this thing. Kameron says that she has been doing well, but she won't get cocky, especially not this week. Alexis says that she thinks she was robbed of a win or two, but she's very happy with her track record. Darienne says that the judges seem to be really loving a few queens more than her, so she is nervous. She says she's gonna turn it out this week, though, so she will be back on top. Asia says she feels like she's finally blooming and is starting to reach her best drag here. Eureka changes the subject and asks Asia why she sent her home. The girls all look surprised and nobody speaks. Asia says that she adores Eureka, but Plastique had been stepping it up the entire competition so she couldn't send her home. Eureka says she understands, but she was still not expecting to leave so soon. Nina West asks Kameron why she sent her home. Kameron says a similar spiel that Asia said. Nina West says that's BS because she had a win Darienne had been in the bottom for three weeks in a row. She says that this is her time to come back because she's ready to take the crown she deserves. Shuga says that she will have to beat her first because she wants this more than anyone, period.
Jiggly cf/ "All of these girls have been sleeping on me, and I like that. I was sent home first, and I'll be the first queen back in. I haven't even shown what I am capable of."
Challenge:
The queens enter the runway in the following order: Plastique Tiara and Shuga Cain, Darienne Lake and Nina Bo'Nina Brown, Alexis Michelle and Jiggly Caliente, Kameron Michael's and Eureka O'Hara, and Asia O'Hara and Nina West. All of the queens do well in their lip-sync performances. Kameron and Eureka do mirrored splits, Darienne and Nina Brown have a tear away, and Plastique and Shuga reveal into the same wigs.
Critiques:
Ru: "Tonight, all of you girls really impressed me. You will be getting critiqued in the pairs you competed in. First up..."
Plastique Tiara and Shuga Cain: "The moment you stepped on the runway, I gasped. Plastique, you are known for being a beautiful queen, and your talents really showed through tonight. You and Shuga look like sisters. You adapted Shuga's makeup to compliment her perfectly. These matching jumpsuits are such a risk, but it was so worth taking. You are shining on the stage tonight. From the wig to the lashes to the nails, every detail is accounted for. Your lip sync performance was good, but it wasn't the most entertaining of the night. I thought it was smart that you kept the resemblance even after the wig reveal. Great job to you both."
Darienne Lake and Nina Bo'nina Brown: "Darienne, your mug is always beautiful, and tonight, nothing has changed. However, you and Nina do not look like sisters. Infact, it looks like you focused on perfecting your look and forgot about Nina. Nina is a very creative queen and you could've done something really spectacular here, however, you painted her very simply. Simple isn't enough. Your gowns are also boring. Your performance, though, I absolutely lived for. It's no secret that you two are lip sync assassins, and you didn't disappoint. The tearaway was a nice touch. If only you could've brought that same energy to your makeover..."
Alexis Michelle and Jiggly Caliente: "Your makeover look is really simple. You hardly look like sisters, distant cousins to be generous. Your looks look like they were made for Alexis while Jiggly was handed the knock off version. You both have such vibrant personalities, and I was expecting that to be shown in your looks. However, it feels very simple and you didn't take any risks. This was a safe shot, and safe isn't going to get you to the top four. Your lip sync was also basic. You both put on a good show, but there was nothing setting you apart from the competition. Tonight, you were really forgettable."
Kameron Michaels and Eureka O'Hara: "Your makeover looks are... basic. I feel like I am repeating myself here. Both of you are beautiful girls who have huge personalities, yet nothing is being reflected besides a decent resemblance. Kameron, you did do a good job at picking out these outfits, though. The black rhinestone gowns look great on you both. Your lip sync was stellar. I loved the simultaneous splits, it gave us a total season 10 rewind. You are two of the best lip syncs we have ever seen, and tonight, your performance was great."
Asia O'Hara and Nina West: "You both look stunning tonight. I am absolutely impressed by your makeup skills Asia. Nina, you are more of a campy queen, but tonight, you are complete glam. You both are serving beautiful mugs, and these gowns are so elegant. Your lip sync, though, was a struggle. I was pretty bored here. You both had strong emotion, and your passion to be here shined through. However, I didn't feel that you correlated well. It looked more like a lip sync for your life than a team performance."
Ru: "Ladies, while you untuck backstage, the judges and I will deliberate."
Untucked:
Plastique and Shuga look thrilled but sit back and relax. Asia says that these critiques were very confusing. She feels that there is no clear top 2. Darienne says that Plastique will be in the top, no shocker. Plastique thanks her. Darienne says that she wasn't complimenting her and begins to rant about how the judges are completely favoring her. She says that her looks are basic and she is totally relying on pretty. Alexis joins in and agrees. Kameron tells them to shut their mouths. She says she is so tired of hearing them bitch about favoritism. Plastique has done better, and that's why she is getting higher placements. Asia says that these girls need to stop the pettiness because there are five eliminated queens here and this is their last chance to get back into this competition. Alexis asks how they all feel. Shuga says that she is so proud of her and Plastique and she feels like she has a great shot at returning. Nina West agrees and says that no matter the results, she wouldn't have wanted any other partner. Kameron apologizes to Eureka and says she feels like she let her down. Eureka hugs her and says she loved being her partner and is so proud of their performance. Nina Bo'Nina Brown says that she agrees with the judges and feels that Darienne neglected her. Everyone is shook. Darienne says that she is sorry that she feels that way, but she tried her best and it's very unfair to say that she only focused on herself. Jiggly tells the girls that she needs this most because she was first out, so she needs another chance to show the world her drag. Nina Brown asks her if she feels let down by Alexis. She says no. She is happy with their performance tonight, but is scared about the judging. The tension is at an all time high as Plastique, Shuga, Kameron, and Eureka all step away.

Results:
Ru: "Ladies, based on your makeovers and lip sync performances tonight, I have made some decisions.
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Plastique Tiara, Shuga Cain, condragulations, you are two of the top four queens this week.
Shuga cf/ "YESS! I am going to win this lip sync, I am coming back henny!"
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.Asia O'Hara, Nina West, you are also in the top four this week."
Nina West cf/ "I am gagged. After those critiques, I didn't know what to expect. I am coming back into this competition immediately!"
Ru: "Jiggly Caliente, Eureka O'Hara, and Nina Bo'Nina Brown, I'm sorry my dears, but this means that your times have come to an end. You may now step to the back of the stage. Kameron Michaels, tonight you served it all in the lip sync and not in the makeover. Darienne Lake, your performance gave us life, but you makeover killed us. Alexis Michelle, tonight, you held back, and you gave us simple.
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Kameron Michaels, you are safe.
Kameron cf/ "Thank God I am safe. I can't be low anymore. Next week, I will win the challenge."
Darienne Lake, Alexis Michelle, I'm sorry my dears but you are up for elimination."
Darienne cf/ "I can't believe I'm in the bottom again. This really sucks."
Alexis cf/ "This is my first time in the bottom 2, and I hate it already."
Ru: "Plastique, Asia, you will be lip syncing to "Side to Side" by Ariana Grande ft. Nicki Minaj for a $5,000 cash tip, a challenge win, and the ability to eliminate one of the remaining queens. Shuga, Nina West, you will be lip syncing to "Wannabe" by the Spice Girls for a spot back into the competition. Now, it's time for Asia and Plastique to deliberate with the bottom two queens backstage."

You will have the opportunity to vote on both lip syncs as well as who the queens will eliminate.
Poll: https://www.surveymonkey.com/LDCJWD7
Spreadsheet: https://docs.google.com/spreadsheets/d/1aSVsEIrXC0lyf_AT0J64p3CrsT_EWt3QSi-rqB0kRL0/edit?usp=sharing
submitted by JackieMethyd to RPDRfantasyseason [link] [comments]


2020.04.27 00:36 cp3cr7 Would you rather be stuck on a desert Island with Carti, Uzi, Iggy, Nba youngboy, or Nicki Minaj?

First off I think i would scratch Carti off of the list. He is too high maintenance and would disappear for weeks/months at a time, leaving me to do most of the heavy lifting by myself.
Uzi i think would be easier to get along with and could be a good partner but unfortunately he is too small/skinny to be of any help if we were to run into wild animals or even if I wanted to build a hut or some shit. He ranks highly on the list tho forsure cuz he is a chill dude.
Next up is Iggy. Get your head out of the gutter this isn't that kind of thought experiment! Anyway, I feel like Iggy would be a great pick because she has shown she is loyal (sticking by carti even though he cheats) and is also 5'10 and thicc which means she is useful in labour tasks. She seems to have an amiable personality that would lead to little conflicts on the island.
NBA Youngboy has an incredible work ethic as we all know (he released another album this week! some of our faves haven't dropped in... nvm) and could be a great help in building structures/finding food. His strong and agressive personality, however, is a double edged sword. Yeah he would be great at fending off wild animals but his demeanor could lead to fights that leave both of us injured.
Nicki Minaj. Now this is where it gets interesting. You might be thinking Nicki would be a bad pick becuase she's a short woman but you are forgetting that she is 37 years old and has the longest and most successful career out of ANYBODY on this list. This means that she has an incredible mind that would be able to break down all of the different tasks that need to be done and conjure up intelligent strategies to help us survive the island. Her wisdom would be invaluable here. Unfortunately, there would be one huge downside... Nicki has an understandably large Ego given the career that she has had, so she would probably not feel comfortable unless she had complete control of the situation. That means you would have to be in essence her slave (remember as a pop star she is used to living a spoiled lifestyle) and even help her out with her more primitive needs....
In conclusion I would pick Nicki to be stuck on the island with.
But that's just MY choice! I'm excited to hear what your guys' opinions are and if you disagree with any of my evaluations or why you would choose someone else.
submitted by cp3cr7 to liluzivert [link] [comments]