Paige, Smasher of Puny Gods. I am proud to say I am a ginormous honking geek. 19 years under my belt but I learn something new every day. I love stories of all shapes and mediums. Sometimes I bake nerdy pies when I feel like it. Please fill my ask box with your theories, character appreciation, geek outs, questions, or whatever.
Welcome to Night Vale
Episode 49 - Old Oak Doors Part A(via tamika-flynn-in-training)
Nicki Minaj is not a woman who easily slides into the roles assigned to women in her industry or elsewhere. She’s not polished, she’s not concerned with her reputation, and she’s certainly not fighting for equality among mainstream second-wave feminists. She’s something else, and she’s something equally worth giving credence to: a boundary-breaker, a nasty bitch, a self-proclaimed queen, a self-determined and self-made artist. She’s one of the boys, and she does it with the intent to subvert what it means. She sings about sexy women, about fucking around with different men. She raps about racing ahead in the game, imagines up her own strings of accolades, and rolls with a rap family notorious for dirty rhymes, foul mouths, and disregard for authority and hegemony.
While Beyoncé has expanded feminist discourse by reveling in her role as a mother and wife while also fighting for women’s rights, Minaj has been showing her teeth in her climb to the top of a male-dominated genre. Both, in the process, have expanded our society’s idea of what an empowered women looks like — but Minaj’s feminist credentials still frequently come under fire. To me, it seems like a clear-cut case of respectability politics and mainstreaming of the feminist movement: while feminist writers raved over Beyoncé’s latest album and the undertones of sexuality and empowerment that came with it, many have questioned Minaj’s decisions over the years to subvert beauty norms using her own body, graphically talk dirty in her work, and occasionally declare herself dominant in discourse about other women. (All of these areas of concern, however, didn’t seem to come into play when Queen Bey did the same.)
Listeners, especially our younger listeners, consider this:
When we talk about teenagers, we adults often talk with an air of scorn, of expectation for disappointment. And this can make people who are presently teenagers feel very defensive.
But what everyone should understand is that none of us are talking to the teenagers that exist now, but talking back to the teenager we ourselves once were – all stupid mistakes and lack of fear, and bodies that hadn’t yet begun to slump into a lasting nothing.
Any teenager who exists now is incidental to the potent mix of nostalgia and shame with which we speak to our younger selves.
May we all remember what it was like to be so young. May we remember it factually, and not remember anything that is false, or incorrect.
May we all be human – beautiful, stupid, temporal, endless.
Cecil Palmer (well technically Joseph Fink/Jeffrey Cranor, but Cecil the character is speaking.)
Also, was I the only one who thought that the reason that Chad was buying and arranging candles was because he’d found a special lady/guy friend and was preparing for a romantic evening, and the Faceless Old Woman was just being clueless/possibly jealous? ‘Cause that’s totally what I thought. And then it’s all nOPE HE WAS PREPARING TO SUMMON A DEMON FROM THE PITS OF HELL MY FREAKING BAD
wtnv fandom: CECIL WHERE HAVE YOU BEEN
wtnv fandom: INTRO'S EMPTY
wtnv fandom: NO WEATHER
wtnv fandom: PROVERB GONE
wtnv fandom: YOU COULD HAVE BEEN HURT
wtnv fandom: YOU COULD HAVE BEEN SEEN
wtnv fandom: of course, I don't blame you, Steve dear