skylilies, I could go on rants for days about how much I hate the wrist grabbing and subsequent dragging of women in media. It shows up in more than just kdrama. It is the worst. It’s basically this symbol of masculine strength and power that the male lead wields when he’s throwing a temper tantrum about whatever the female lead is doing.
Rarely is it ever about getting her to physical safety.
One of the things that frustrates me the most is that it doesn’t take a lot of strength to get out of one. Grabbing someone by their wrist doesn’t actually allow you any control. With the right application of leverage and force, they not only are escapable—with very little practice, you can easily get out of one.
So, I’m going to teach you. It is very simple. When someone grabs your wrist, yank your arm or wrist or even ankle, as hard as you can, in the direction of where the Grabber’s thumb and fingers connect. This is where the grab is the weakest.
No matter how many times they try to maintain their grab, holding onto someone while they use their force against that point, is impossible.
Sometimes the first few yanks against the thumb don’t work. That doesn’t mean you should give up. If they can haul you around, you can pull hard on that weak spot until they are forced to let go.
As for the manicures >.>
Go for the eyes. It doesn’t take a lot of force or pressure to rake your
tiger clawsfingernails over someone’s eyes and ruin their vision. The eyes are one of the softest targets (the other being the groin) and are easily accessible.
You don’t have to a martial arts master to pull these off. I practice kungfu and I learned most of them in my white belt level classes. Even girls in high heels and pretty dresses, when they’ve been properly educated, can get out of a wrist grab.
I would love it if more dramas took the time to show wrist releases. I would love it even more if the boys stopped grabbing the girls.
Godfrey Gao’s GQ Taiwan March 2013 Cover
when haru decides she wants to record a song
"The Untold Renaissance": Ikire Jones Spring/Summer 2014 Lookbook.
It’s all dapper hommes, suave strides and bold prints and patterns in Nigerian designer Wale Oyejide’s Spring/Summer 2014 lookbook for his brand Ikire Jones.
“This collection pays homage to 18th century textiles and tapestries while exploring the absence of persons of color in Medieval and Renaissance-era European art. Borrowing from the sampling method employed in hip hop culture, each reinvented piece tells an original narrative from the perspective of Africans who have been placed in an alien context. Through this reverse lens to the past, the present circumstances of individuals who feel displaced and alienated may also be considered.”
Crush - Hug Me (feat. Gaeko)
Those are some pretty sensual hugs you’re crooning about, Crush.
You have no idea how long I’ve been waiting for a full album by Crush. Every time he’s done guest spots on his pals’ jams, I’ve loved them but I’ve also secretly wished that he’d drop an album of his own instead. There’s something about his voice that just makes me turn into a puddle (don’t even get me started on his falsetto, don’t even), so to have an album full of that voice that’s smooth as room temp butter? Mmmhmm, yes please.
2014 F/W Seoul Fashion Week
this is everything
Taeyang - Love You To Death
This is, hands down, my favourite song off Rise. It’s been on repeat since the album dropped yesterday. Taeyang said recently that Miguel was one of his main inspirations while making the album—I don’t really hear too much of that influence on the rest of the album, but it’s definitely there in “Love You To Death,” especially since Happy Perez is all over this track. If only they selected this song to get an upcoming video treatment instead of “Body” (sigh).
Infinite - Reflex
80’s-tinged Infinite is baaaaack. I love it. Like, this is immediate drag-and-drop-into-my-workout-playlist good. I gave their album a spin and was ambivalent toward the majority of it, but as soon as I got to this track, I broke into the stupidest grin. Infinite drenched in retropop vibes is my favourite kind of Infinite.
Gary & Jung In - Your Scent
I am so here for any Gary/Leessang release that features Jung In.
Teresa Teng - Live in Hong Kong (1976)
Oh hey, just gonna switch between Mandarin, Cantonese, Japanese, English songs and hey, why not play a flute too, NBD.
Teresa Teng, forever a legend. Y’all can have your Streisands or whatever.
NICKI MINAJ - PILLS N POTIONS
Crystal Leww: One of the most substantial complaints (i.e. not nonsensical yelling about what constitutes **real hip-hop**) about pop Nicki Minaj is that she always sounds like everyone but herself. “Whip It” was Britney circa-2012, “Beautiful Sinner” was Rihanna, and “Young Forever” was Ke$ha in “The Harold Song,” which is Ke$ha doing Taylor Swift. “Pills N Potions” is, oddly enough, Minaj doing Lykke Li — not exactly a pop star, but definitely someone who makes music who can be classified as pop. That’s perfect, completely poetic for Minaj, who has spent her entire career straddling the line between multiple genres (“mixtape Minaj” doesn’t exist; Beam Me Up Scotty had the wonderfully taut “Handstand" among other pop tracks) because hey, Nicki Minaj contains multitudes. “Pills N Potions” has its problems: the song lacks a focused subject matter, the raps are a bit generic, and the Ester Dean assist is just slightly tonally out of place. And yet, for how close this is to being a really bad song, it’s got just enough superstar power to make it work. In particular is that bridge, quietly nostalgic for the person who makes her high from a tangential contact with their memory and desperately hopeful for a future. There’s a hole in the Billboard charts this summer where a late night, cruising down the highway tune should go, and “Pills N Potions” is ready to step in.
Katherine St Asaph: Peter Rosenberg is full of shit. The bros who think Nicki Minaj is a metonym for bad music taste — the kind of guys who comment on Clockwork Orange videos suggesting the Nazi footage be replaced with “Stupid Hoe” — are full of more shit, and as much as they insinuate their problem is with rap, their problem is actually with pop. (Specifically, with “downmarket” pop, which prompts an entire digression on race and class and cred and neon hair, the tl;dr of which is screw the Taste Olympics.) But “Starships” still sucks. It would be such a triumph if only it didn’t suck. I don’t know when or why critics decided it didn’t suck, or made it so damn symbolic. It’s not the music — if it were, people would have canonized even one other RedOne production from 2012 onward, and Ester Dean would be a star. It’s not Nicki’s indelible presence, because indelible presences on RedOne tracks often come off like ink bleed on a photocopy. “Starships” began as, and was written to aspire to, a Mohombi track; Nicki’s added value was bringing the guest rap in-house. Is it literally just that Nicki has made a pop song, whichever ol’ pop song, and that people who don’t like pop don’t like it? Rap bros don’t even care; it’s imagining points onto a scoreboard the other side is pissing on. “Pills N Potions” sucks less than “Starships,” but it sucks more drowsily, which is exactly what you’d expect from Dr. Luke and Cirkut giving Nicki a lighters ballad. I didn’t like this either when it was called “Adore You" or "Battle Cry,” or for that matter “Marilyn Monroe" or "Fly.” In theory I don’t begrudge people their pop crossovers, not in this music economy. I want Nicki Minaj to be a star, and have since her still-astonishing “Roman Holiday" at the Grammys — which would have been iconic if Nicki got iconic songs. Instead, she got Sia with drug metaphors, and got predictable.
Madeleine Lee: If someone tells you they like this song because “it’s actually good,” don’t trust them. If someone tells you they like this song because it’s perfect, because it makes them feel like falling or floating or running or taking a deep breath, ask them on a date to the park to watch the clouds, or to meet you at a party at night on the balcony outside where it’s quiet. If someone tells you they don’t like this song, smile at them, turn the volume up, and let them get lost.
Megan Harrington: When I hear Nicki sing “pills n potions/ we’re overdosin’” in the saddest, tiniest voice it feels like putting a cigarette out in a fresh, open wound. I’m empathizing with her cosmic pain, of course, but there’s a secret, thrilling, roller coaster high that’s released when you go so low. That high is the song’s strong sense of finality; sometimes closure is as simple as accepting that you still love that person. Nicki uses the metaphor of failed romance to hold a mirror to all the superficial music industry machinations, but instead of elevating or condemning either experience, the takeaway is that Nicki truly is above the fray. “Looking” represented one way to do battle, “Pills N Potions” another — what’s most exciting is that Nicki never stops moving.
Rebecca A. Gowns: This is not a “return to form” — it’s not a “return” to anything. Nicki Minaj has consistently been turning out songs in different flavors for years. She likes to rap, but she also likes to sing, dance, pose, tell jokes, and act. She’s a jack of all trades! When it comes to her acting — well, sure, she’s in movies now, which is something she’s wanted to do since she was very young. She is also nearly always acting, always playing with which Nicki persona she wants to pull out of the doll chest next. They’re all ready at a moment’s notice. I like this one: sensitive and open, but also righteous and strong. It’s the same one at play in “Your Love,” “Fly,” “Fire Burns,” and “Still I Rise.” This persona reminds me of Sanford Meisner’s acting technique: “living truthfully in imaginary circumstances.” She may be “on” all the time, but it’s never fakery! She’ll always be who she is, delivering her stories (or, story at all) with conviction. As for the song itself, if it has to be compared to any previous Nicki “moment,” “Fly” works the best as a reference point — hurt, but triumphant. Can be played lying facedown in bed, or blasting out of speakers on the way to the beach, with the sea breeze kissing your face.[Read, comment and vote on The Singles Jukebox ]
God bless every single woman who blurbed this Nicki Minaj track, even Katherine, especially Katherine, who continues to be one of the few people who can say negative things about Minaj in an informed and constructive way.
I love that Maddie and Rebecca also thought about where “Pills N Potions” would be played because the settings that you can imagine songs heard is maybe one of my favorite things about music. And I can imagine all the settings listed here: I want to hold someone’s hand tighter while watching the clouds or fall in love on a balcony or sob deeply into my pillow or sit quietly without singing along to this with the sun maybe starting to burn my face with the passenger window rolled down when I listen to this. I’ve gone back and forth on how much I like this over the last week or so, but I think this has put me firmly in like camp. the Sorry, I’m a sucker for the summer.
[My Twitter tribute to Maya Angelou, who is now resting in power at age 86]
Maya Angelou has always been my blueprint, the black woman writer whose work has affirmed me, whose words assured me that I was worthy of being heard. It was Maya Angelou who freed me with I Know Why The Caged Bird Sings, it was Maya Angelou who helped me place first in my high school speech contest where I recited I Rise and Phenomenal Woman, it was Maya Angelou who strengthened me as I prepared to share my story in 2011 with the following mantra:
"There is no greater agony than bearing an untold story inside you."
Thank you, Maya, my mother-writer-sister-goddess.
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