This post is especially for my beloved 1991 friends. We are more than what you think. There is a certain sense of community between us, and you are right, there is a reason why. Although the “Year of the Goat” terms back to the astrological sign of Cancer- the mother – Goats are rarely ones to be mothers. Known as the independant, 1991 people are seen to be the sexiest in the astrological years. We are the most creative, shy and timid, and can range from any emotion. We are known for our artistic temperaments, and are culturally inclined.

We are clumsy in speech, and sometimes seen to be “stupid,” but that is just because we are introverts to a certain extent. Open-minded and well respected, we are known to like our occasional “alone time”. Intelligent – half buisness minded, half life minded, we are psychics in our own way and because of this, are known to stick together (goats.. sheep.. see the similarity?). Because of this, goats are able to read body language very good.

Remarkable healthy, digestive areas are most sensitive to people of this year. Becareful of over-eating and always supplement yourself with proper nutrition. 1991′s are most compatible with horses (gemini – 1990), snake(taurus – 1989), and pigs(scorpio – 1984). Could work with monkeys, dragons, and roosters, as long as you dont smother them! Avoid the ox at all cost, no good for us!

Hope you enjoyed the goat fetish I have! I love 1991′s so much….

Check out Azealia Banks’ 1991 EP

Love always,

ELECTR0N1CAforever

From its humble beginnings back in 2006 at Sydney’s Randwick Racecourse, Future Music Festival has morphed into a colossal beast of an event, touring the country in March. This over 18years old event is set to pop off, with the line up already announced and tickets are now for sale. Tickets for the event can be found on Moshtix website here^, just click the city event you wish to attend and click purchase.

Where  & When:

Saturday 2nd March 2013 Brisbane- Doomben Racecourse - Hampden St Ascot QLD 4007  Australia

Sunday 3rd March 2013 Perth (Labour Day Long Weekend)- Arena Joondalup - Joondalup Drive, Joondalup WA 6027 Australia

Saturday 9th March 2013 Sydney – Randwish Racerouse - Gate 1, Alison Rd Randwick NSW 2031 Australia

Sunday 10th March 2013 Melbourne – Flemington Racecourse - 448 Epsom Road, Flemington Victoria 303 Australia

Monday 11th March 2013 Adelaide – Bonython Park - Port Rd Thebarton SA 5031 Australia

^ Note: moshtix are not selling for the Perth festival at this time

LINEUP
THE PRODIGY - THE STONE ROSES
Special Guest PSY (Gangnam Style)
Bloc Party – Dizzee Rascal - Azealia Banks – Rita Ora
Boys Noize (Live debut) - Hardwell – The Temper Trap – FUN.
Madeon – Rudimental - Ellie Goulding - Steve Aoki
Gypsy & The Cat - A-Trak (Live)
Kill The Noize – Feed Me (Live) - Zeds Dead
DJ Fresh – Nervo – Zane Lowe - Borgore
The Stafford Brothers & Timmy Trumpet - Tenzin - Bombs Away

COCOON HEROES feat Sven V th - Richie Hawtin
Ricardo Villalobos – Seth Troxler - Magda

WAKE YOUR MIND feat Cosmic Gate feat Emma Hewitt
W&W – tyDi - Andy Moor - Super8 & Tab – Ben Gold
+ MUCH MORE!!

If you and your friends are heading to the event let us know by leaving a comment! We like to know who you are looking forward to see at Future Music Festival and which event you are actually attending! Thanks guys and we will see you all there!

Azealia Banks. I get some shade and cynicism regarding my adoration for Azealia Banks. When I first heard 212, I was intrigued by the reflective and aggressive nature of the song. How many times do we call ourselves out and realize that we are the ones in the way of our progress? But it wasn’t until I heard and watched the accompanying video for her single “Liquorice” that I began to realize the importance of the above scene. Azealia was disrupting the “money shot” or fantasies that surround the sexuality of women, specifically women of color. She is confronting the politics of respectability and reclaiming her sexual autonomy ALL AT ONCE… in 2 seconds. I’m not sure if Azealia or the mainstream at large sees the weight of that 2 second cut. But I’ve been reading essay-after-essay in my Gender and Women’s Studies classes about this very idea and Azealia gets done in 2 seconds, what takes feminist theorists 10 pages to do. Not in any way am I discrediting or reducing their work. It’s the foundations of intersectionality and the progress of diversifying feminism, but realistically the average fan of Azealia Banks isn’t reading feminist theory and knows nothing of Audre Lorde. But they do know that Azealia is obliterating the expectation of a simulated sex act. That alone is HUGE.

Why is that so big? Well  to begin with Azealia is a Black woman. Historically, the bodies of Black women have been overtly sexualized to the point where it is perceived that our bodies are here for the enjoyment of others. Moreover, that our bodies are to be used and controlled- thus, snatching our power away from us in the regard of decision making for our own well-being. Since there is a general “f*ck you” when it comes to the issues surrounding women of color, the consequences of this imperial sexualization are ignored.

I also think that women of color reclaiming their sexualities is both important and difficult. The general consensus in the field of people who create the boundaries for expectations, the assumption is that Black women are insatiable and sexually reckless. Azealia confronts the expectation that she should want to be overpowered by the messy, dripping, condiments and halts the “money shot”. I use the word money shot to call on the prevalence of pornography being the standard for female sexuality. In mainstream porn, we have a set series of events and most of the time, they end with a sweaty woman, with smeared makeup, kneeling before a man begging him to ejaculate in her face. This is the prized moment in the film because it signals the success of a conquest. But this conquest isn’t for land, money or political clout. This is the culturally prized conquest of a woman’s body and to signal the victory she is marked and one’s masculinity is asserted and immortalized on celluloid. Ahhh yes, good ol’ porn.

This is why Azealia haulting the the proverbial “money shot” is so important as a symbol of autonomy and resistance for Black women in pop culture. It is important because she is in turn, destroying, in her hand, the problematic expectations of availability that are placed on us. Also, she is reminding us that the power behind the phallus is only symbolic and NOTHING ELSE. Penises in reality are the most vulnerable parts of the male anatomy and by squishing it in her hand she is shifting the power and restoring the choice. In turn, the weight and the implications of a marked and conquered woman are reduced. It’s not a take over if you insert choice, consent, personal autonomy, etc.

This is how it went in my head.

Patriarchy: AHA! I’m going to conquer you by symbolically marking you! GET READY

(Azealia grabs patriarchy and pushes it away.)

Azealia: Uhhh NO YOU’RE NOT! I’m not here for that.

(Awkward silence)

Patriarchy: Well, can I mark around you? Not necessarily on your face? Maybe on your back or your butt because society will still accept that seeing that you’re a Black woman.

Azealia: No.

Patriarchy: Well…can I-

Azealia: I’m not consenting unless it’s on my terms PATRIARCHY!

Patriarchy: Well YOU’RE A WHORE ANYWAY!

Azealia: so.

(Patriarchy hangs his head in a dispassioned manner. Ego bruised, he steps away from her and mumbles sexist bullsh*t hoping she’ll hear…but she doesn’t because she doesn’t care.)

So basically that fictitious exchange is the reason why I love Azealia Banks. Maybe I looked into it way too much and I’m being to dreamy about people’s relationships with patriarchy, but I believe that Azealia is aware and she is actively confronting problematic aspects of Western culture. Go girl. Disrupt that money shot. Disrupt it!

-Affrilachian Feminista

Azealia Banks – Liquorice

In the third installment of their #BESTNIGHTEVER campaign, ASOS have revealed how to obtain the look of style icon Azealia Banks.
We have already seen the looks of candyfloss-haired model Charlotte Free (faux fur, jewels and feathers), and Brit singer Ellie Goulding (masculine cuts, luxurious prints), and now we have Azealia’s garish glam.
The selection is priced at £5 to £130 and includes lip foils, bralets and biker boots- a look as daring as the her lyrics. See for yourself now!

Lady Gaga revealed juicy details about her forthcoming album ARTPOP. Gaga told us, via LittleMonsters.com, that ARTPOP will probably be released as two albums, ARTPOP Vol. 1 &  ARTPOP Vol. 2. Each volume would have a six month gap between releases. How Robyn of her! Gaga talked about the ARTPOP interactive app that will accompany the album with exclusive content and ways to personalize the ARTPOP era experience. Our Lady of Gagalupe also revealed that there is no set genre or musical direction of ARTPOP. It’s a “project experience” and will have elements of techno. Lady brought up “Princess Die” which I am not here for so I skimmed over that.

Gaga, can you hear me? You better not f*ck this era up by being a lame.

XOXO

Source

Source

People used to talk about how faux-rapper Nicki Minaj was the new aged version of infamous femcee Lil Kim, and I’m thinking that the reason that stopped is because of the rise of Azealia Banks. I had heard the news of this new feminine force months ago, but had never done much research on her, until recently. A facebook link led me to check out her single “212″, where a dope video and this girl dropping the lady-hating “c-word” made me fall in love. This led me to discover this song, off of Azealia’s first mixtape, “Fantasea”, which I highly suggest you listen to. This song is produced by a duo of Hudson Mohawke and Nick Hook, and I am absolutely loving the steel drums in this beat.

Dowload/Listen to her mixtape here.