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kidfresh832

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Everything posted by kidfresh832

  1. Now they know GOT can only win for costumes, effects, cinematography....cause no ma am on the writing
  2. She got a hot prominent launch on Amazon Prime day. Front page lots of exposure.
  3. Harry eyeing all that leg Beyonce got in that dress.
  4. The biggest complaint I have seen is that it's shot for shot remake. But less emotive visually so it's like why bother? One of the comparisons is Aladdin remake choose to expand Jasmine role so at least it's different. I'll see it still I think.
  5. I dunno I think I like this better than Elton, but I'm hesitant on Donald's part. They recorded it separately I saw on his interview last night. I think you can tell, I'd have to hear a few more times.
  6. They stay being hypocrites. I like ruthless June. That ho was marked for death the second she let loose she was the one that tattled. The Lydia backstory was very interesting finally seeing how someone could travel to the depths she is now. If that principal had just dicked her down real good she wouldn't have gone off the deep end maybe. I was so hoping she got shot in her face at the end I was ready to get all my life.
  7. Her current style isn't cute. Agree with the eyebrows. She got Duchesses coming to watch her play she can get a better Wimbledon do and her brows done at least.
  8. It is what it is. It isn't amazing award winning material or anything. But, its got decent sci fi weirdness and nostalgia from 70s-80s the kids are funny. The seasons are short enough where there isn't a lot of filler its pretty fast paced and on target not all over the place. The ultimate issue is they cant keep this cast around and still be plausible. I mean they should have already evacuated the town and made the government come in after season 1. There's no way people would still live there after all this shit.
  9. Stranger Things is back. Its still good so far.
  10. Spider-Man Far from Home- B the end credits raise it to B+
  11. Right! Panning the audience during Throb breakdown? I was big mad lol
  12. Lil Nas X posts about his sexuality at the end of Pride Month Good for him.
  13. June read Serena down to the depths of her unholy soul! That backstabbing barren bitch shoulda burned. And Nick's triflin ass …. there better be a deeper explanation Mr. Waterford might have to give up the cakes to get ahead in Washington....cause High Commander Winslow clearly wants some of that ass.
  14. She should give the BBC a nice exclusive for the next project or something they really giving her some good articles recently. Janet at Glastonbury: Slick, energetic set from an R&B queen To be fair, the star is a headline act at home in the US, where she's one of the most successful female artists of all time. Her star was never quite as big in the UK, though, despite having 17 top 10 hits to her name, which made this festival set something of a gamble. Admirably, rather than play it safe, Janet delivered a whistle-stop tour of her career, playing a relentless, non-stop medley of 21 tracks in just 50 minutes. At times, the pace was dizzying. One of her biggest hits, The Best Things In Life Are Free, was jettisoned after the first chorus; and minor tracks Throb and Come On Get Up got a fuller airing. For die-hard fans, it was a dream setlist (and there were plenty of them singing their lungs out) but for a festival crowd unfamiliar with the corners of her back catalogue, some of the song choices were perplexing at best. But the blessing of the attention-deficit setlist was that every time an album track started up, a pop banger was just around the corner - whether it was the punchy 1980s funk of What Have You Done For Me Lately, or the breezy pop melodies of Escapade and Miss You Much. It was a physically-demanding performance, full of crisp, impressive dance moves - often directly lifted from videos Janet shot 30 years ago. But the 53-year-old easily fell in step with her troupe of eight dancers, despite wearing a heavy tail-coat in the 30C heat. She paused only once, to dab the sweat off her face with a towel, which she then threw aggressively to the floor so she could get on with the next routine. In fact, she seemed happiest when she was goofing off with the dancers, breaking into laughter when one blew her a kiss during Escapade, and tossing around her red tangle of curls as they vamped on some of The Jacksons' old routines. Janet's vocals were sometimes too quiet in the mix, but she seemed to have worked out a way to sing - mostly - live while galloping around the stage; and the rip-roaring Black Cat proved she could belt it out when she needed to, Never the most loquacious of stars, her stage banter was minimal, save for a few exhortations to sing along and, during Nasty, declaring: "I could learn to like this, Glastonbury". Meeting the press backstage after the show, though, she said the view from the stage had been "amazing". "So many people," she marvelled. "Everybody seems to really enjoy it every single year. I hear so much talk about it." It's easy to overlook what a trailblazer Janet was in the 1980s and 1990s, emancipating herself from her overbearing father, Joe, and singing about female empowerment and sexuality long before Beyonce and Rihanna. Meanwhile, her Rhythm Nation album was ripped from the headlines, with songs that tackled social injustice, racial prejudice, homelessness and illiteracy. Two of those songs, State Of The World and The Knowledge, formed a centrepiece of Saturday's set, and sadly proved as relevant now as they were in 1989. But it was the hits, not the deep cuts, that really connected. The lovestruck funk of Love Will Never Do (Without You) was a highlight, as was the military stomp of Rhythm Nation, which closed the set. A technical delay at the start of her show meant the planned encore of Together Again had to be dropped. In the final analysis, it might have been wiser to drop the jukebox approach and concentrate on 10 or 12 guaranteed bangers, but after what felt like a 50-minute tour of modern R&B history, you couldn't accuse Janet of slacking off. She's done a lot for us lately. https://www.bbc.com/news/entertainment-arts-48814360
  15. I'm halfway through very dissapointed in her audio. Seems like she's having to fuck with her mic pack so much she can't get into the performance like normal. And that outfit is a mistake it's too hot for that. When she laid down in front of the fan to start Throb I was like girl I know you hot.
  16. I'm downloading the whole set from torrent sites can't wait to see
  17. Janet Jackson’s upcoming appearance at this year’s Glastonbury Festival has already made headlines. When the singer tweeted the poster for the internationally-renowned British weekender in March, fans spotted that she’d doctored the original image to promote herself from fifth on the bill to first, leapfrogging headline acts The Killers, The Cure and Stormzy, plus Kylie Minogue, who’s playing the Sunday afternoon ‘legends’ slot. It was a brazen and amusing bit of self-aggrandizement from the US star, who is back in the limelight this summer, with her new Las Vegas residency being hailed as a return to “topform” when it began last month. But many fans felt it was more than justified. For, despite a glittering career that includes 10 US number one hits, estimated global record sales totalling 100 million, and a recent induction into the Rock and Roll Hall of Fame, Janet remains a strangely underrated pop icon. Janet’s iconic career is especially impressive because it’s involved having to emerge from the shadow of a wildly successful older sibling. When she dropped her eponymous debut album in September 1982, Michael Jackson was just months away from unleashing Thriller, the pop culture phenomenon that became the best-selling album of all time. Performing as the Jackson Five, Janet’s brothers had been a popular act since the early '70s, and being a Jackson surely gave Janet a head start in the highly competitive music industry. But it didn’t guarantee her a hit: neither 1982’s forgettable Janet Jackson album nor 1984’s slightly stronger follow-up Dream Street,which includes an almost-quaint duet with British pop legend Cliff Richard, sold very well. Their largely characterless blend of contemporary pop sounds offered few clues that by the mid-90s, Janet would be the highest-paid recording artist in history. Janet’s creative and commercial breakthrough came in 1986, when she teamed up with Minneapolis-based producers Jimmy Jam and Terry Lewis to make Control, a game-changing dance-pop-R&B album that paved the way for the new jack swing sound of the late-'80s. When Janet declared “this time, I’m gonna do it my way,” on the title track, she meant it: Jam and Lewis’s sleek, teak-tough beats gave her a state-of-the-art platform to establish her own powerful pop persona – that of a strong, self-assured young woman who had no time for “nasty boys”. Then, with 1989’s formidableJanet Jackson’s Rhythm Nation 1814 album, she became more overtly political. "Join voices in protest to social injustice," she sang on the title track. "A generation full of courage, come forth with me." "Long before Beyoncé was flashing the word 'feminist' in the background while performing on stage, Janet was exploring how navigating the world as a black woman is never not political," says Dr Kirsty Fairclough from the School of Arts and Media at the University of Salford. "Her music and image melded to explicitly address racism and sexism with songs about trying to flourish as a person in an environment ruled by both. In a 1987 interview following the release of Control, Jackson responded to a question about being a feminist by saying, 'If it’s someone, a woman, who’s taking control of her life as well as her career, then I say that I am a feminist.'" These two albums contain some of Janet’s most enduring songs, including What Have You Done for Me Lately?, Escapade and Nasty, on which she delivers an iconic rebuke to disrespectful males: “No, my first name ain’t baby – it’s Janet, Miss Jackson if you’re nasty.” They also established her as one of the most dynamic music video creators of all time. When I Think of You is a joyous homage to old-school Hollywood musicals directed by Absolute Beginners’ Julien Temple; The Pleasure Principle contains a dazzling dance performance from Janet that peaks with a famous chair sequence that Britney Spears referenced in her 2000 video for Stronger. A sexually-liberated trailblazer Subsequent albums such as 1993’s janet and 1997’s The Velvet Rope found her fully embracing her sexuality in a way that still feels groundbreaking today. Her 1993 single If is a heady sexual fantasy whose video has been praised for portraying interracial lust. “There are songs on The Velvet Rope that would make Beyoncé in [sexually-charged] Partition mode blush,” BBC Radio 1 DJ Clara Amfo tells BBC Culture. “Her unashamed sexual liberation, especially for black women, is something that's still so taboo.” At the same time, musically, she began to shift into seductive, slow-burn R&B – see brilliant '90s singles such as the Grammy-winning That’s the Way Love Goes and Joni Mitchell-sampling Got ‘til It’s Gone. But even then, she never abandoned the dancefloor. Two of her biggest mid-career hits were 1997’s Together Again, a poignant house-pop track inspired by a friend she lost to Aids, which cemented her status as an LGBT icon, and 2001’s All for You, an irresistible neo-disco song that spent seven weeks at number one on the Billboard Hot 100. Janet collaborated almost exclusively with Jam and Lewis until 2004’s Damita Jo album, which also included contributions from several other producers including Kanye West. Amfo notes that “her consistency in working with the same producers allowed her to hone a sound that is so distinctively her”. Damita Jo became Janet’s first commercial disappointment since 1984, failing to top the Billboard 200 chart or to yield a sizeable hit single. Super Bowl sexism The album arrived just two months after one of the most notorious moments of her career: the so-called ‘wardrobe malfunction’ during her performance with Justin Timberlake at the 2004 Super Bowl Halftime Show, which saw her breast briefly visible on live TV. Both artists said afterwards that the idea was simply for Timberlake to rip away Janet’s leather bustier to reveal a red lace bra underneath, but that the ‘malfunction’ caused her entire breast to be exposed. The incident caused a global furore: Michael Powell, chairman of US media regulator the Federal Communications Commission, told a Senate panel that it was "a new low for prime time television". Though ‘Janet Jackson’ became the most searched-for person on the internet that year, her reputation was instantly tarnished. Walt Disney World even decided to remove a life-size statue of Mickey Mouse dressed in her signature Rhythm Nation outfit. Last year a report alleged that after the incident, Les Moonves, the chairman and CEO of CBS, which screened the Super Bowl, became “fixated” with derailing her career and effectively blacklisted her from Viacom channels including MTV. Moonves, who stepped down from the network in September 2018 following accusations of sexual harassment and abuse, is said to have been incensed because he believed the incident was a deliberate attempt to whip up controversy that Janet had not shown enough remorse for. Whatever the truth behind this allegation, there’s no doubting that it affected her career in a way that Timberlake, who was equally involved in the incident, largely managed to escape. “Though her nipple was only exposed for about half a second, what the incident triggered was to bring back into popular consciousness a long-held negative trope surrounding black female sexuality,” Fairclough says. “This is essentially the idea that black women are ‘dangerous’ and ‘irrational’ sexual beings that must be controlled. Her career in the mainstream has never fully recovered since this moment.” The Janet revival But in recent years, Janet’s reputation has definitely enjoyed a revival. Her 2015 album Unbreakable debuted at number one on the Billboard 200, and her recent tours have won appreciative reviews. “When [acclaimed French singer-songwriter] Christine and the Queens did a segment on my radio show called Your Song [in which guests select a song that is special to them], she chose Janet’s The Pleasure Principle and she was just so elated when she was speaking about it,” says Clara Amfo. “Janet has and continues to be a template for so many artists: Christine, Ciara, fellow Glastonbury performer Janelle Monáe, MNEK, Beyoncé, the list goes on.” Indeed, British artist-producer MNEK tells BBC Culture enthusiastically: “Janet’s songwriting and performing has always been so sophisticated. I’ve always admired her showmanship and how she was able to wrap lyrics with her voice in such a smooth way. [Some] people say her voice is too soft or that she can’t sing, but this obviously isn’t true. Janet has actually got a beautiful voice.” MNEK also praises Janet for “really drilling in the importance of albums to the public – that gets overshadowed because she’s the ‘baby Jackson’, but her talent is her own, outside of being a Jackson”. Amfo goes a step further, saying that a key part of Janet’s legacy lies in inspiring others by “gaining independence from a family with an overbearing history”. Sadly, it’s arguable that this family history continues to cast a shadow on Janet’s individual achievements. Dr Kirsty Fairclough says that historical sexual abuse allegations levelled at Michael Jackson in this year’s documentary Leaving Neverland “inevitably influences mainstream coverage of Janet and her family”. Janet’s new Las Vegas show, Janet Jackson: Metamorphosis, begins with a performance of Empty, an excellent trip-hop-inflected track from The Velvet Rope. Released 22 years ago, its lyrics seem to have anticipated society’s growing reliance on online relationships. “Is this a new way to love? Never face to face, is it enough?” Janet ponders. Her revival of this very prescient song in 2019 reflects how, knockbacks notwithstanding, Janet remains supremely capable of stewarding her own legacy, and doing so smartly. This weekend’s Glastonbury set gives her a welcome opportunity to remind us that she’s one of her generation’s most thrilling and visionary performers. BBC
  18. I got physically uncomfortable and upset in some of the scenes. The 4th episode alone with Korey in jail its just a goddamn sin and a shame. And its crazy how that prosecutor is just now after all these years of not feeling the consequences is losing awards she got, resigning from boards she was on and getting backlash after the story aired. She still thinks they were involved somehow and that she is the victim now.
  19. I had to watch When they see us slowly. Cause the emotion was too much. It straight up pisses you off how these boys were manipulated and tossed aside and failed.
  20. Serena ALMOST had me feeling for her. I ALMOST was ready to sign off on her redemption. But, this two faced 9 finger bitch with that hostage video stunt. I cannot and will not have it! The cinematography and sets, and directions seem to have even gone farther than previous seasons this year. Some of the shots and visuals have been really well done.
  21. Is she tho......? Id watch the other 2
  22. 4 episodes in I don't think they are being derivative of the past seasons. I was left wondering with the finale last year how in the world they can "go back to status quo". But they really haven't at all. June shook shit up hard, there is progression. She has taken the Commander down a few pegs. She basically drove Serena to burning down the fucking house and negotiating a better position to do what she wants. Shes getting in deep with the Martha smuggling network and slowly asserting her power as a revolutionary leader. It takes a lot to make me deal with Serena but shes at least on the way to redemption.
  23. She mad about her NYTimes profile article for Madame X. Of course with the ageist claims.
  24. Handsmaid tale Season 3 first 3 episodes chiiiiild. Still amazing
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