#dapper dan midas
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Comprehensive list of Queer Pop Artists (wether through themes in songs or through confirmed ID) you could be supporting instead of throwing a fit over the fact that Swift is not gay and would really like if y’all stopped speculating (because it’s wrong to boil someone down to who they bone, and dangerous and harmful to out someone, thought we knew this as the queer community, but I digress)
List was created by a now deleted account on Reddit, so I can’t credit the exact person who created it
A Comprehensive List of LGBTQ+ Pop Music Act’s
additional reference: /u/[**frogaranaman**](https://www.reddit.com/user/frogaranaman/)**'s list divided by identity:** [**https://www.reddit.com/r/popheads/comments/c3rpga/happy\_pride\_in\_honor\_of\_the\_month\_here\_is\_a\_list/**](https://www.reddit.com/r/popheads/comments/c3rpga/happy_pride_in_honor_of_the_month_here_is_a_list/)
^(i divided by genre, so some people appear on multiple lists. I am not a musicologist; please do not ask me why i categorized an artist in one genre, but not the other. if the grammys never even get it right, how can i?)
**methodology**: i included artists who give a clear answer being a part of the community, have had it verified being queer and/or queerness some tangible way, have passed, and/or discuss queer themes in the first person in a moderate or significant part of their body of work. ^(i did not include comedy artists, so you will not see too many camp acts or drag queens here.)
**key**:
* *\** = person and/or representation of color, mostly black
* *(+)* = noticeably problematic
* *(#)* \- uses queer themes or narrators often, but not verified
if I missed someone, or misidentified someone, post a response with their name and genre. i will edit & include them.
​
# adult contemporary
* ben abraham *\**
* jennifer knapp
* will young
* sam smith
* billy porter *\**
* michaela jai *\**
# alternative folk & country
* orville peck
* adeem the artist
* tj osborne / brothers osbourne
* angel olson
* joy oladokun *\**
* sufjan stevens (#)
* evil *\**
* kd lang
* izzy heltai
* trixie mattel
* steve grand
* adrianne lenker (of big thief)
# alternative hip-hop & rap
* taylor bennett *\**
* snow tha product *\**
* zebra katz *\**
* shygirl *\**
* rob.b *\**
* tiger goods *\**
* naeem ***(formerly spank rock)*** *\**
* mykki blanco *\**
* princess nokia *\**
* mahawam *\**
* heems *\**
* saul williams *\**
* kalifa ***(formerly le1f)*** *\**
* omar apollo *\**
* keanan *(drill) \**
* drebae *\**
* cuee *\**
* junglepussy *\**
* angel haze *\**
* mista strange *(drill) \**
* the last artful, dogdr *\**
* dizzy fae *\**
* kelechi\*\*\*
* ilovemakonnen *\**
* kamaiyah *\**
* kidd kenn *(drill) \**
* leikeli47 *\**
* isaiah rashad *\**
* dai burger *\**
* azealia banks ***(+)*** *\**
* chicka *\**
* jaboukie *\**
* dapper dan midas *\**
* baby tate *\**
* kevin abstract / brockhampton *\**
* cakes da killa *\**
* iamjakehill / ur pretty
* cazwell
* lil lotus
* lil aaron
# alternative pop
* purple crush
* aurora
* st. vincent
* black dresses
* anohni
* maggie lindemann
* scott matthew
* oscar and the wolf
* steve lacy *\**
* dreamer isioma *\**
* vaultboy
* coco & clair clair *\**
* shamir *\**
* empress of *\**
* cat burns *\**
* kučka
* king mala
* lava la rue *\**
* devonte hynes / blood orange *\**
* jessica 6 *\**
* naeem ***(formerly spank rock)****\**
* adore delano / danny noriega *\**
* orion sun *\**
* dizzy fae *\**
* pvris
* japanese breakfast *\**
* dorian electra
* yeule
* kevin abstract / brockhampton *\**
* christine & the queens
* davy boi *\**
* declan mckenna
* yungblud
* jazmin bean
# alternative r&b
* durand bernarr *\**
* keiynan lonsdale\*
* frank ocean *\**
* noah davis
* serpentwithfeet \*
* joy oladokun *\**
* isaac dunbar *\**
* kwaye *\**
* steve lacy *\**
* kelechi *\**
* ray laurel *\**
* mac ayres
* orion sun *\**
* kyle dion *\**
* janelle monae *\**
* kelela *\**
* jeremy pope *\**
* syd / the internet *\**
* jamila woods *\**
* kehlani *\**
* mahawam *\**
* 070 shake *\**
* davy boi *\**
* destin conrad *\**
* michelle (band) *\**
* cat burns *\**
* coco & breezy *\**
* arlo parks *\**
* devonte hynes / blood orange *\**
* bartees strange *\**
* brayton bowman *\**
* bronze avery *\**
* cain culto ***(formerly ecclesia)*** *\**
* olivia o'brien
# SPOTLIGHT: arab, persian, & desi / south-asian artists
* the muslims *\**
* hamed sinno / mashrou’ leila *\**
* wafia *\**
* remi wolf *\**
* rostam / vampire weekend \*
* heems \*
* freddy mercury / queen *\**
* leo kalyan *\**
* lil darkie ***(+)*** *\**
* dounia *\**
* dua saleh *\**
* raveena *\**
* mavi phoenix *\**
* ray laurel\*
# black & urban contemporary gospel
* kevin terry \*
* mo heart \*
* resistance revival chorus \*
* james cleveland \*
* sister rosetta tharpe \*
* tonex / b.slade \*
* donnie mcclurkin \*
# blues / jazz / spoken word
* billy wright \*
* bessie smith \*
* frankie "half pint" jaxon \*
* big mama thorton \*
* johnny mathis \*
* ethel waters \*
* billie holiday \*
* little richard \*
* ma rainey \*
* billy strayhorn \*
* langston hughes\*
# camp
* iamjakehill / ur pretty
* jaboukie \*
* qaadir howard \*
# contemporary r&b
* whitney houston \*
* monifah \*
* iman jordan\*
* 070 shake\*
* bree runway\*
* coco & breezy\*
* dreamer isioma\*
# christian & worship
* william matthews\*
* semler
* ecclesia ***(now known as cain culto) \****
* sufjan stevens **(#)**
* jennifer knapp
* vicky beeching
* dion davis\*
* joy oladokun\*
* ethel cain
* julien baker
* dan haseltine / jars of clay
* ray boltz
# djs / producers
* kaytranda \*
* amorphous \*
* sophie
* mnek \*
* mike q \*
# electronic / disco / industrial
* woodkid
* robert alfons / tr/st
* bright light bright lights
* k flay
* beth ditto
* midnight pool party \*
* sylvester \*
* eartheater
* christine & the queens
* zee machine
* yves tumor \*
* passion pit
* the sound of arrows
* peaches
* fever ray / the knife
* hercules and love affair
* jessica 6 \*
* kele okereke / bloc party\*
* shura
* madison rose\*
* michael medrano
* shamir \*
* shygirl \*
# house / ballroom house
* little louie vega / masters at work\*
* azealia banks ***(+)*** \*
* tt the artist\*
* cake da killa\*
* kevin jz prodigy\*
* purple crush
* miss jay\*
* kevin aviance \*
* rupaul \*
# hyper / power pop
* 100 gecs
* that kid \*
* dorian electra
* mika \*
# indie & progressive pop
* mickey darling (#)
* fhat \*
* cub sport
* moses sumney \*
* kele okereke / bloc party\*
* minute taker
* morgxn
* shamir \*
* muna (\*)
* tawnted
* the aces
* rostam / vampire weekend \*
* this japanese house
* tinashe \*
* angel olson
* mothica
* peter thomas
* japanese breakfast \*
* lava la rue \*
* royal & the serpent
* michelle (band) \*
* semler
* pale waves
* perfume genius
* gabriel garzon montano \*
* declan mckenna
* the sound of arrows
* fever ray / the knife
* kali
* lava la rue
* girl in red
* bartees strange \*
* jake shears / scissor sisters
* ethel cain
* devonte hynes / blood orange \*
* purple crush
* tegan & sara
* oliver sim / the xx
* ssion
# indie rock
* kele okereke / bloc party \*
* cosmo jarvis ***(#)***
* oliver sim / the xx
* car seat headrest
* big thief
* now, now
* lucy dacus / boygenius
* rostam / vampire weekend \*
* boyish
* julien baker
* black belt eagle scout \*
* ethel cain
* courtney barnett
* pale waves
* joe talbot / idles
* le tigre
* john grant / the czars
* lava la rue \*
# SPOTLIGHT: indigenous artists
* black belt eagle scout \*
* keiynan lonsdale\*
* trixie mattel \*
# k-pop
* mrshll\*
* holland\*
* lionesses\*
* jiae / wa$$up\*
* wonho\*
# SPOTLIGHT: latinidad & latine artists
* arca \*
* ricky martin\*
* villano antillano \*
* cain culto (formerly ecclesia) \*
* tokischa \*
* mad tsai \*
* snow tha product \*
* 070 shake \*
* anitta \*
* kali uchis \*
* blue rojo \*
* pablo vittar \*
* maria becerra\*
* kaytranda \*
* omar rudberg \*
* empress of \*
* michaela jai \*
* willie gomez \*
* jessica 6 *\**
* mabiland \*
* princess nokia \*
* omar apollo \*
* adore delano / danny noriega \*
* omar rudberg \*
* adriano cintra / css \*
* young m.a \*
* gabriel garzon montano \*
* pablo alborán
* bentley robles \*
Also adding in general (not pop necessarily)
Elton John
Queen/Freddie Mercury
Lzzy Hale/ Halestorm
Taylor Momsen/ The Pretty Reckless
#Taylor swift#fandom#lgbtq#comprehensive list#lgbtq artist#lgbtq musicians#out lgbtq musicians#gaylor#gaylor swift#your allowed to have queer readings of her song lyrics#but the speculation about TS’s own sexuality is harmful#and always will be#no one owes you labels#no one owes you to come out#and it needs to be accepted that she identifies as a cishet woman#almost like she was *born that way*#also I’m a lesbian so#don’t come at me with accusations of homophobia#there’s a whole ass post on my blog about why speculation and rumors about people’s sexuality is harmful#go read it
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HAUS Party, A Very Queer Prom featuring Kevin Aviance, Pearl, Dapper Dan Midas, Kotic Couture, Stealya Manz-Blue, DJ Sidekick, and Washington Heights. 9:30pm 🎟 : https://www.eventbrite.com/e/haus-party-a-very-queer-prom-tickets-541971099147 (at The Crown) https://www.instagram.com/p/CpVlfopJ3TI/?igshid=NGJjMDIxMWI=
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Moments In Song No. 023 - Kotic Couture
Authentic. That’s one word that can be used to describe Kotic Couture’s current mindset. From their music, to their marketing, Kotic is making sure to put their genuine self in everything that they do, regardless of who cares. We talk to the artist about intersectionality in Hip-Hop, their love for relatable lyrics, and the never-ending journey towards authenticity.
Listen to Kotic Couture’s playlist on Apple Music and Spotify.
Words and photos by Julian.
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Julian: The first thing I noticed about your playlist is that a lot of the songs are introspective and thought provoking. There’s maybe only one or two celebratory party songs on there. Was that a conscious choice you made or just something that ended up happening?
Kotic: It’s funny because I didn’t realize how introspective I was until the beginning of the year when I put a song and my friends were like, “You’re very conscious of yourself when you write.” Looking at the songs on the playlist, it does include songs that I casually listen to, so it wasn’t really a conscious decision, but it was interesting to see the artists that I like and how they reflect on things and how that comes into my everyday life. I feel like I’m always thinking about shit or being conscious of how I move. I didn’t realize how much that was reflected in the music I listened to until I started looking at my playlist.
Are those reflective songs new songs you’ve been listening? Or are some of them songs you’ve always loved?
I’ve always always always always listened to “Save Me” by Nicki Minaj. Since “Pink Friday” came out it’s been one of my favorite songs. I’ve literally been listening to “Ctrl” for the last 2 months. That’s why “Drew Berrymore” is my go to song right now. It’s just such a great song. Even “Family Business” by Kanye and “Daddy Lessons” are songs I’ve always cycled through. But as of recent “Drew Berrymore” has been on repeat everyday.
You mentioned earlier the reason why that song sticks out so much is because it puts into words what you may not always be able to?
Music is such a beautiful thing. A lot of times you think you’re the only person who’s experiencing something and I just think that SZA....SZA and I are very close in age and so I think that album and the way that she wrote it is for people of our generation. It’s very relatable. So as I’m growing and experiencing more things, and experiencing relationships, or different career goals, that was one of those songs that makes sense. It puts my emotions into words. I didn’t know how to say it but this song says it.
When working on your own music, is expressing those not-so-easy-to express emotions through writing a skill you’ve developed over time or is it something you’re still developing? I also know that you are really into the club music scene, so is that more introspective side something that was always present at the beginning of your career?
I’ve always loved singer-songwriters, but it always felt like I had to make party music or club music because I was always in clubs. But as of late, and especially since we’ve all been quarantined, I feel a little bit more adventurous with expressing myself and wanting to challenge my writing. When I look onto the internet, or look on Twitter, or talk to people, a lot of people feel underrepresented and they want those songs to make them feel how “Drew Berrymore” makes me feel. They want something real, they want something relatable. This is what’s going on in my life. Just recently I came to terms with the fact that I’m not on the radio right now. I really don’t have a desire to be on the radio right now. I want to make music that feeds people’s souls and means something. That’s been a recent shift that’s starting to be reflected in my writing a lot more.
I honestly think that’s where you find longevity. Searching for just that radio play….
It’s going to fizzle out.
Yeah, and like you said earlier when you’re really making that impact on people’s lives and speaking to what they want to hear, that’s how you reach longevity and stay on people’s ears and minds.
People just want to be understood. And they want to express things to others, and sometimes that’s through music. It can be a conversation starter as well.
Are some of the artists on this playlist big musical influences when you were growing up? Or are there some not on this playlist that you could tell us about?
Definitely coming up as a rapper Nicki, Missy Elliott, Left Eye. Missy and Left Eye are the reasons I started rapping. Even M.I.A. I always knew club music, but even outside of that I didn’t have a lot of exposure to different types of music. So my friends would hear Electronic music and say, “Oh that’s white people music.” So when I heard “Galang” for the first time and saw the visual I was like, “Oh shit!” And then I found out about Santigold and all these other artists, and it kind of opened up another world for me. It let me know I can make these different types of music, and pull from these different influences.
As of right now I’ve been experiencing a lot of influence from R&B music. Along with “Ctrl” I’ve been listening to “Shea Butter Baby” by Ari Lennox non-stop, literally. Tidal does a “most listened to” playlist for the month and my July playlist was one song and then the whole “Shea Butter Baby” album and “Ctrl.”
What about Missy Elliott and Left Eye specifically inspired you to make music?
I never connected with male figures growing up. Male rappers never talked about anything that I thought was relatable, or anything that I really liked, until Kanye came out. So hearing Missy, and hearing Left Eye, these artists are talking about things that I was relating to. They’re both super creative. I feel like they’re opposite ends of the spectrum where Missy is so out there and iconic visually and is dangerous as a songwriter, Left Eye was very upfront and vocal about her beliefs and the way she felt about things. I feel like it was the marriage of the two of them that built me as a person, even to the point of me standing up for what I believe in. I remember listening to a TLC interview and they said in the “Creep” video Left Eye didn’t agree with the message so she wore tape over her mouth and didn’t want to put a verse on the song. So it’s things like that that remind me to say what I feel and to always be ahead.
I feel like you can also see that with some of the newer artists you have on your playlist. I feel like CHIKA falls into that category you just described as far as doing her and saying what’s on her mind regardless of what other people are saying.
If you haven’t listened to anything else, you should definitely listen to her Tiny Desk. I love listening to EP’s, but my favorite thing is performing. So watching people perform something in a more acoustic way is always interesting to me. And the way the production was done, with the background singers being brought out for the Tiny Desk is really dope. So CHIKA is someone I really love. I love her, I love Tank and the Bangas, that's just what I enjoy. I enjoy poetry, I enjoy art. I’m very receptive to people who make art with their words.
Do you have any other artists that you admire as far as their live performances go?
I saw NAO at Afropunk, she is amazing live. Jill Scott, she is amazing live. And very captivating. I did theater in high school, so performance is a very important thing to me. Watching how people put things together, I love instrumentation, I love bands. Someone who I think is very slept on is Azealia Banks. When she performs live it’s crazy.
You brought up Azealia and it’s really crazy what happened to her. She’s an incredible artist but I feel like all that extra stuff overshadowed her talent and music. You could honestly make the argument that she laid the groundwork for a lot of the female, and male artists even out today.
I think Azealia is a great example of how the industry, and more specifically the Black community, responds to mental illness. How they respond to mental illness coming from Black women versus Black men. Because you can make the comparison of Kanye and Azealia and it's going to be two different things. I think that when you hear Azealia and some of the things she went through, and then look at some of her actions, she’s someone that’s been hurt. You can tell she’s someone who has issues with mental illness. But I think that the way the world attacks women, and demonizes women, especially darker skinned Black women, it says a lot about the way the industry carried her out.
“Broke with Expensive Taste” was an amazing album. I don’t think the label pushed her the way they should have. There’s a lane of people who craft the way artists move, especially underground artists, and I feel like Azealia opened the doors for Black people to come back to Electronic music, to come back to House music, to rap and to sing. And then visually and aesthetically, I feel like Azealia laid down that groundwork which made people more receptive, and opened up the doors for someone like Rico Nasty to take it to the next level.
I feel like Rico doesn’t get the recognition she deserves. For alternative girls in Hip-Hop Rico changed the aesthetic and the sound. And I think it just says a lot about how this industry handles and disrespects Black women. People are just so used to that being the way, they don’t think about it or question it. But yeah Azealia is just super talented, and she’s opened up a lot of doors and pushed a lot of envelopes, and I don’t think she gets the respect she deserves for that.
She definitely helped pave the way for like a Rico Nasty, and even then you were saying Rico doesn’t get the recognition she deserves. She’s very in your face, with that almost angsty punk rock, emo rock type of energy, and not to pit them against each other, but that doesn’t get the same type of love and recognition as a Cardi B or Megan the Stallion. So that goes back to your point of making sure the playing field is level and everyone gets the shine and attention they deserve. And like you said it’s a societal issue, not a Cardi or Meg issue. They’re not trying to be the one and only voice for female rappers out here.
Even Cardi just recently said, when they were talking about “WAP” and someone made a comment about conscious female rappers and Cardi was like, “Y’all don’t listen to them!” There’s a lane for everybody because there’s something everybody wants to listen to, but I think that if you are a femme-identifying person and youre not selling sex then people don’t want to hear you. Or you have to play the game a certain way. Even if you think about Nicki she was like I’m going to put these blonde wigs on and give you this bubblegum pop shit but I’m also going to put rap songs on my albums because I recognize where I come from. So I guess it’s about learning to play the game, or wanting to play the game because some people don’t want to.
At the end of the day some people are like, look I just want to make what I want to make, create what I want to create, and if they like it they like it, if they don’t they don’t. And I feel like now it’s hard to have these conversations because some people in our generation and younger are conditioned to think that their opinion is the only thing that’s correct. So when people are trying to have a conversation or debate it’s automatic, I don’t agree with you let’s shut it off. And there’s a lot of tension and things that get involved. Like Rico and Meg can exist within the same world but the world tells us that they can’t. And I think people hear what they want to hear, and see what they want to see out of that and just cut it. It definitely says a lot about society, but things are changing.
Women are running the rap game right now. Between City Girls, Meg, Cardi, even artists like Mulatto coming up. I don’t care what anyone says CHIKA is the best rapper in the freshmen class. Women are really starting to be like, look I’m running this shit, I’m making the content, I’m bringing everything to the game that other people aren’t. A lot of the other younger rappers that are coming up are lazy. Because for 5 minutes when Black Lives Matter happened everyone wanted to be an activist, but now everybody is like let’s go back to playing party music. And it’s fine you don’t have to, everybody don’t want to express it in their art. So I just think it goes to show the wave, and who’s real. And people are leaning towards authenticity now.
I would make the argument that this decade of rap, the 2020’s, is going to be leaning towards women taking over, and them taking the spotlight, and their voice taking priority. I feel like the 2010’s was when it just started being ok for you to not be rapping about trapping or gangbanging. You saw the Drakes and the Tylers and all of those guys come up this decade, so I feel like the 2020’s now will have women come in and take that role. Plus some of the male rappers are getting lazy. The last three albums you put out sound the same. Nothing is new, nothing is different. You’re still talking about the same stuff.
And I always question artists who put, not to question their creative process, but if you’re putting out two or three albums in a year or year and a half did you really take the time to craft that? There’s certain people now who I’m really starting to listen to more. Amine I’m starting to listen to more, and his visuals are really dope. I really like Saba, I like Smino, I like Noname. I think we’re breaking out of that time of there can only be one. It took almost 10 years of Nicki being out before someone was like, oh we can have multiple women. She was like, Ok I’ve been telling y'all there doesn't have to be only one. Or you have like J. Cole who was the only “conscious” rapper that people were paying attention to but now people are realizing you can like more than one person and it’s ok to diversify what you take in.
It’s making room for people to create. And I think people have always been afraid because I think back to watching Jay Z “Fade to Black'' and there was a point where they were in the studio and the guy was like, “I don’t want to talk about the shit that I’m talking about but that's the only thing labels want to push and hear,” and Jay Z was like “Y’all hear that? Y’all got people afraid to be themselves because y’all won’t listen to it.” And I think we’re out of that time because the internet has grown, the internet is more accessible so people can go find exactly what they want to listen to.
I feel like that goes back to the piece you were saying earlier, like when you’re making music to impact people’s lives. There’s an audience for everyone, there’s a space for everyone. If you’re making music to get on the radio your audience is only gonna be so big, but when you’re making music to impact people’s lives, that’s going to increase the size of your audience tenfold.
I like to think of my music as a book, and each song being a chapter. Like overall, what do I want this book to be about, and who do I want this chapter to relate to? But away from everything else, how do I want to express what I’m feeling and how do I want to be vulnerable to help someone else is my biggest thing. I just recently realized I’m not going to be Beyonce. That’s not my role, I love Beyonce, but that’s not my role. I can still love somebody’s work and their art and respect it, and want to go in another direction. So I think the realization of like, “I’m cool being like the Saba, the Smino, the Mac Miller that does the festival stage, that sells out shows, but I might not be on the radio,” that’s fine. It’s more important for me to create something that I can perform for 5 to 10 years and still be happy with it. And I’ve just come to that realization, and I think that’s changed a lot of the music I’m creating.
Would you say your latest release, “Pink Durag” embodies that new message you're trying to get across?
Yeah I feel like that was kind of a spiritual graduation for me. I think the reason why that song was different was because I produced it. So even making the beat, I’m making this knowing what I want to say, knowing what I want to do. I just think it was a different connection with the music. I think more now I’m in the realm of, “If you don’t like it, it’s not for you but I love this.” I’m making music for me, that I hope touches other people. But if it doesn’t, I want to make sure the stuff that I release, I can look at it and be like you know what people weren’t receptive to it but I’m 1000% proud of what I put out. And that’s just the mind-frame that I’ve been in. I’m not trying to sell myself to anybody else anymore. Labels don’t know how to sell me. Marketing teams don’t know how to sell me. So I’m just going to do it myself, and in order for me to do it myself it has to be authentic. It has to be something I believe in.
Connect with Kotic Couture
https://www.instagram.com/koticcouture/
https://twitter.com/KoticCouture
https://koticcouture.com/
Connect with Moments In Song:
https://www.instagram.com/momentsinsong/
https://twitter.com/momentsinsong
https://tinyurl.com/MISAppleMusic
https://tinyurl.com/MISSpotify
#Moments in Song#what are you listening to#azealia banks#nicki minaj#Missy Elliott#dapper dan midas#sza#beyonce#m.i.a.#chika#baatchoy#kanye west#hip-hop#electronic#r&b
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𝐂𝐇𝐀𝐑𝐀𝐂𝐓𝐄𝐑 𝐒𝐇𝐄𝐄𝐓 ―― repost , don’t reblog !
𝐁𝐀𝐒𝐈𝐂𝐒 ―
FULL NAME. yelena belova.
NICKNAMES. yel, lena.
ALIAS(ES). black widow, white widow .
SEX. female .
SIZE. 5′3′’ .
AGE. 26 - BW verse, 31 after snap.
ZODIAC. aries .
SPOKEN LANGUAGES. russian, english, spanish, japanese, french, manderin.
𝐏𝐇𝐘𝐒𝐈𝐂𝐀𝐋 𝐂𝐇𝐀𝐑𝐀𝐂𝐓𝐄𝐑𝐈𝐒𝐓𝐈𝐂𝐒 ―
HAIR COLOUR. blonde, with dark blonde roots .
FACIAL HAIR. n / a .
EYE COLOUR. green with flecks of brown .
SKIN TONE. pale, with a rosey undertone .
BODY TYPE. lean but muscular.
VOICE. a deeper hucky tone when normally spoken, but can get a little higher when annoyed.
DOMINANT HAND. ambidextrous .
POSTURE. stands straight usually, but does slouch when relaxed .
SCARS. none, yet.
TATTOOS. none, yet.
PIERCINGS. three sets in each ear.
BIRTHMARKS. none.
MOST NOTICEABLE FEATURES. her eyes. or her :( frown.
𝐂𝐇𝐈𝐋𝐃𝐇𝐎𝐎𝐃 ―
PLACE OF BIRTH. unknown .
HOMETOWN. unknown .
SIBLINGS. natasha romanoff .
PARENTS. melina vostokoff & alexi shostakov (not paternal, more figuratively) .
A𝐃𝐔𝐋𝐓 𝐋𝐈𝐅𝐄 ―
OCCUPATION. ex russian assassin.
CURRENT RESIDENCE(S). [redacted], saint petersburg .
CLOSE FRIENDS. a few widows .
FINANCIAL STATUS. comfortable if need be..
DRIVER’S LICENSE. yes.
CRIMINAL RECORD. :)
VICES. snaking on unhealthy foods (but hey, she’s happy)
𝐒𝐄𝐗 𝐀𝐍𝐃 𝐑𝐎𝐌𝐀𝐍𝐂𝐄 ―
SEXUAL ORIENTATION. bisexual on the cusp of demisexual, has yet to figure it out yet.
PREFERRED EMOTIONAL ROLE. caretaker .
PREFERRED SEXUAL ROLE. a switch.
LIBIDO. low .
TURN-OFFS. manipulation, no respect of boundaries, misogyny/sexism/racism.
LOVE LANGUAGE. physical touch, words of affimation .
RELATIONSHIP TENDENCIES. once she has a connection with someone, she hopes it’s forever/or a while. tends to want a serious relationship even in her line of work.
𝐌𝐈𝐒𝐂𝐄𝐋𝐋𝐀𝐍𝐄𝐎𝐔𝐒 ―
CHARACTER’S THEME SONG. Pull Up - Dapper Dan Midas
HOBBIES TO PASS TIME. video games, fighting
MENTAL ILLNESSES. depression, ptsd, anxiety, paranoia
LEFT OR RIGHT-BRAINED. left - brained .
SELF-CONFIDENCE LEVEL. high, she has never had to feel otherwise about her body, or would kick anyone elses ass for trying to make her feel any other way.
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DDm is True to His Baltimore Self in ‘PULL UP’ Video
View this post on Instagram
Tomorrow my visual for ‘PULL UP’ premieres. It shows a different side of me I used to run from. I used to try to be so polished and industry that I forgot the charms of being rough around the edges from Baltimore City. Thanks to @karn_nabi_and_colossus for letting me dress you up.
A post shared by DDm (@goddm) on Nov 24, 2019 at 7:06am PST
//www.instagram.com/embed.js
Baltimore bred rapper DDm, short for Dapper Dan Midas, isn’t your ordinary story hitting Hip-Hop. One of the most talented battle rappers on the scene, the talent of DDm isn’t limited to the battle stage, instead, carries over to the booth, crafting records as a member of Bond St. District, but also as a solo artist, crafting he local heralded Beautiful Gowns. But is that enough to establish satisfaction? Not hardly.
The LGBTQ rapper is familiar with the stigma that is carried through Hip-Hop about sexuality and if his time on the battle circuit is any indication, he is more than ready to prove himself.
“I always tell people my stepdad was super hard on me. He would beat my ass, some would say it was child abuse but he knew who I was before anyone knew who I was. He prepped me for the world I would be living in, opposed to what he would like for me to live in. I’m not into having a conversation in defending my sexuality, but I will beat your ass when it comes to these microphones and these ciphers.”
DDm bleeds Baltimore to his core. He will speak on the streets and the creative scene. His bravado is only boasted more by his bars. And his energy is infectious and vibrant, letting fans and peers know that he is a full-on talent, but not the one to play with at the same time.
Although DDm will tell you that he loves Baltimore, he does understand that his hometown was not the easiest place for him to grow up. As a member of the LGBTQ community, DDm often found that there were not many places that were considered safe places for him. Barbershops were dominated by the masculine undertone customary with banter across the nation. One of his goals is to make the world more inclusive to LGBTQ members, for him, what better place to start than HIp-Hop?
“The kids who are like me, sitting at home right now, I want them to go in aggressive. Hip-Hop is a competitive sport and you can’t go in being a weakling. You have to be strong. I want to show strength, a regal presence and someone who will be respected. That’s for media outlets, other rappers and whatever, to at the end of the day say ‘he killed that shit,’” DDm shared. “I want the kids like me to say DDm he makes us look good, he commands respect. I don’t aim to overexaggerate a piece of me, that’s not who I am. Yes, I get my nails done but that’s one piece of me. That 3D representation is very important. Yes, I can get my nails painted, but I can wear Timbs, go to that cipher and kill it.”
The talent of DDm is on display in the video for his new single “Pull Up.” The song carries a bounce to the streets of Baltimore and serving as an anthem for those who are not to be tried. The infections “Who the f*ck is you talking to” is met in the video by various art forms and the final confrontation as DDm made sure he did a “Pull UP” on who he had an issue with. The song and video are available below.
youtube
The post DDm is True to His Baltimore Self in ‘PULL UP’ Video appeared first on The Source | The Magazine of Hip Hop Music,Culture and Politics.
from Young And Hungry Entertainment https://ift.tt/2KSX6eD
via Young And Hungry Ent.
source https://youngandhungryent.blogspot.com/2019/11/ddm-is-true-to-his-baltimore-self-in.html
from Young And Hungry Entertainment https://ift.tt/2KUjhkF
via Young And Hungry Ent.
source http://feedproxy.google.com/~r/yahblogger/~3/j4U4EiUCBfE/ddm-is-true-to-his-baltimore-self-in_25.html
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(Dapper Dan Midas (DDm)) #LGBTUrbanCharts
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De ‘Politica’ van Aristoteles: de mens als politiek dier
De Politica is een sleuteltekst in het westerse politieke denken. Het is een cruciaal werk over de organisatie van de staat en de plaats van de burger daarin. Aristoteles onderzoekt uitvoerig de bestaande staatsinrichtingen en formuleert onderweg zijn kritiek op Plato’s utopieën. Wanneer in de Middeleeuwen het boek in het Latijn verschijnt, begint de invloed op de Europese politieke cultuur, van Thomas van Aquino tot Karl Marx, van Hobbes tot Montesquieu. Sinds 1999 geeft de Groningse Historische Uitgeverij met een gestage regelmaat het werk van ‘de vader van de filosofie’ in Nederlandse vertaling uit. Dit vijfde deel in de reeks bestendigt moeiteloos de kwaliteitsvolle uitgaven en vertalingen.
Politica
Een gedeeltelijke lijst van Aristoteles’ geschriften is ons overgeleverd door de biograaf Diogenes Laërtius. De schatting is dat minder dan een derde van wat Aristoteles werkelijk heeft geschreven bewaard is gebleven. In de overgeleverde werken moeten we bovendien een onderscheid maken tussen de geschriften die bestemd waren voor gebruik in Aristoteles’ school (de zogeheten ‘esoterische’ teksten, zoals aantekeningen voor colleges en voorontwerpen van publicaties) en die bedoeld voor een breder publiek (de meer verzorgde ‘exoterische’ teksten, in het bijzonder dialogen). Een onderscheid dat Aristoteles trouwens zelf maakt, zo ook in de Politica. Van de exoterische teksten zijn slechts fragmenten bewaard. Wat we kennen behoort tot de esoterische geschriften. Het zijn teksten met een onderzoekend en schetsmatig karakter, zonder doorzichtige structuur of heldere stijl. Daarom ook dat het vandaag moeilijk te begrijpen is dat Aristoteles met name door Cicero en Quintilianus geprezen werd om zijn verzorgd taalgebruik. Zij hadden het duidelijk over de exoterische geschriften. In de Politica is er evenmin een overkoepelend organisatieprincipe, het zijn losse schetsen van een onderzoek. Achteraf volgde pas bij de overlevering een indeling in boeken, delen en hoofdstukken.
Net als op het gebied van de wetenschappen waren de Grieken de eersten om samenlevingsverbanden intensief te bestuderen en staatstheorieën te ontwerpen. Al sinds Homeros staat de polis in het Griekse denken over de gemeenschap centraal. Hesiodus, Solon, Herodotus, Protagoras, Socrates en Plato gingen allemaal Aristoteles vooraf. Behalve bij Plato, wiens denken over de polis een heus systeem vormde, is bij Aristoteles’ voorgangers het praktische politieke denken en niet zozeer de politieke theorievorming van primair belang.
Aristoteles was op zijn beurt dan weer een van de eersten om zijn diverse onderzoekingen te systematiseren. Zo verdeelt hij de ‘menselijke kundigheden’ in drie soorten: productieve (bijvoorbeeld landbouwkunde), theoretische (bijvoorbeeld metafysica) en praktische (bijvoorbeeld ethica). Bij deze laatste soort, zo betoogt Aristoteles in zijn Ethica Nicomachea, is het doel van het handelen de handeling zelf. Willen we deze kundigheid bestuderen, dan moet ons onderzoek zich richten op het doel van menselijk handelen en het functioneren van de mens in grotere en kleinere verbanden. De Ethica en de Politica zijn de twee belangrijkste geschriften gewijd aan dergelijk onderzoek. Beide hebben hetzelfde thema: Aristoteles spreekt zelf van ‘de filosofie van menselijke zaken’. Ethiek en politiek zijn zondermeer onder één noemer te rangschikken. Niet verwonderlijk dus dat Aristoteles de Politica al aankondigde op het einde van de Ethica. De Politica vormt met andere woorden de bekroning van de Ethica. Samen met de Retorica hebben we zo de drie pijlers van de peripatetische filosofie, de ‘trias aristotelica’.
Let wel, voor Aristoteles is ethiek geen stelsel van voorschriften, maar een beschrijving van menselijk gedrag en hoe dit tot stand komt door keuzes. Menselijk handelen vindt bij uitstek plaats in een soort samenlevingsgemeenschap die enkel aan de mens is voorbehouden: de polis. De betekenis van de ‘polis’ is niet eenduidig en het was lange tijd gangbaar het woord ‘stadstaat’ als synoniem te gebruiken. Grofweg kunnen we stellen dat het gaat over een in de eerste plaats menselijke gemeenschap die een sociale en economische eenheid vormt en een interne politieke organisatie heeft. Er is niet één term waarmee we ‘polis’ kunnen vertalen, maar het dichtst in de buurt komt waarschijnlijk ‘gemeenschap’ of ‘maatschappij’, naargelang de context.
Het politieke dier
Zoals gezegd is alle handelen voor Aristoteles gericht op een doel. Het gemeenschappelijke doel van het menselijke handelen is ‘welzijn’ of ‘geluk’ (eudaimonia). Dit streven omschrijft hij als ‘een activiteit van de ziel overeenkomstig haar voortreffelijkheid’ (aretê). Deze handeling draagt bovendien haar doel in zichzelf: wie eenmaal dergelijk ‘welzijn’ heeft bereikt, heeft niets anders nodig. Dankzij de werkzaamheid van ons verstand onderscheidt de mens zich van andere levende wezens en kunnen we de meest voortreffelijke eigenschappen waarmaken en handhaven. De mens is tegelijk een sociaal wezen - een zôon politikon of een politiek dier - en kan een optimaal welzijn bereiken binnen de polis, de gemeenschap met de grootst mogelijke rechtvaardigheid. Van nature ontplooit de burger zich het best in de polis, waar ‘geluk’ gelijk staat aan een goed leven voor alle leden van de gemeenschap.
Aangezien de werkelijkheid toont dat niet iedere polis hetzelfde doel nastreeft of een zelfde structuur heeft, rijst de vraag welke het best aan de voorwaarden voldoet en hoe die ingericht moet zijn. Voor het schrijven van zijn Politica bestudeerde Aristoteles de staatsinrichting of constitutie van meer dan 150 steden in het oude Griekenland. Zo kwam hij tot een ontwerp van een staatkundig systeem gebaseerd op de hoogst mogelijke stabiliteit en rechtvaardigheid. De beste staat is onafhankelijk, beperkt in omvang, met een zekere welvaart en met als uiteindelijk doel het goede en gelukkige leven dat op deugd is gebaseerd. De verantwoordelijkheid van de macht, het doel van de opvoeding, de rol van het onderwijs, de vorming van de burger, de aard van het burgerschap en de verhouding tussen de uitvoerende en rechtsprekende machten: het komt allemaal aan bod in dit politiek denken.
God of beest
‘Wie niet in staat is deel te nemen in een gemeenschap, of daaraan geen behoefte heeft omdat hij zichzelf genoeg is, maakt geen deel uit van een polis, en is dus ofwel een beest of een god’. Deze bekende zin is Aristoteles’ politieke filosofie in een notendop en vormt het uitgangspunt voor de in 2010 eveneens bij de Historische Uitgeverij verschenen verzameling essays ‘Het politieke dier, de ontdekking van een soort’. Zeven hedendaagse essayisten buigen zich over deze invloedrijke uitspraak. Frank Ankersmit, Josine Blok, Midas Dekkers, Piet Gerbrandy, Bas Heijne, Luuk van Middelaar en Wouter Vanstiphout tonen zich van hun meest beestige zijde en doen een dappere poging het politieke dier in zijn wezen te duiden of hoe te overleven in de arena van de macht. Voor Aristoteles is een politiek dier ieder talig wezen in een gemeenschap dat aanspraak maakt op rechtvaardigheid in die gemeenschap en dus niet iemand die zich zoals in de huidige betekenis onderdompelt in het politieke spel. Wie daar niet aan mee wil of kan doen, heeft genoeg aan zichzelf. In het beste geval is dat een goddelijk wezen, maar meestal een beest. Wie zo is, is als ‘een alléén opgerukte steen in het damspel’. Een vogel voor de kat. Volgens Midas Dekkers is ieder dier trouwens een politicus. Welke vormen deze politieke dieren nog kunnen aannemen – van proleten-conservatisme tot onbeschaamd populisme - , lezen we in deze onderhoudende en inspirerende bundel. Een prikkelende aanvulling op de lectuur van de Politica.
Deel 5
In hun inleiding op de Politica stellen de vertalers dat ze geen wetenschappelijke uitgave wilden brengen, maar een wetenschappelijk verantwoorde. Opzet geslaagd, wat ons betreft. Aristoteles’ geschriften krijgen vaak het stempel van ontoegankelijkheid mee. Zoals hierboven aangehaald, is dit in eerste instantie te wijten aan de overlevering: het zijn de esoterische, schetsmatige stukken die tot ons zijn gekomen, de meer uitgewerkte, bestemd voor publicatie of exoterische zijn jammer genoeg grotendeels verloren. Ook dit traktaat ontbeert de literaire kwaliteiten van pakweg een platoons geschrift , maar deze vlot leesbare vertaling zorgt voor de nodige verpozing en verluchting. Het zeer uitgebreid notenapparaat, een glossarium, een register van namen, zaken en begrippen, de indeling in deel- en hoofdstukken inclusief tussentitels, en een bibliografie begeleiden de lezer stapsgewijs naar een dieper begrip. Dat dit vijfde deel in zijn herkenbare oranje-geel-paars-grijze vormgeving er opnieuw oogverblindend uitziet, is mooi meegenomen.
De Politica leert ons waar persoonlijke integriteit en publieke verantwoording rond draaien. Het is een afgewogen onderzoek naar de juiste verhouding tussen burger en politiek en naar de ethische grondslagen van een geluk brengende samenleving. Wat kunnen en mogen wij van politieke leiders verwachten, wat van burgers? Het zijn prangend actuele vragen. Een boek, kortom, dat niet mag ontbreken op menig schoon verdiep.
Verschenen in: STAALKAART #18, 2013
Politica van Aristoteles, Historische Uitgeverij 2012, vert. door Jan Maarten Bremer en Ton Kessels, ISBN 978 965540041, 368 pp.
Aristoteles – Het politieke dier, de ontdekking van een soort, div., 96 bladzijden, isbn 978 90 6554 0355, € 12,95
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Just Announced: HAUS Party, A Very Queer Prom featuring Kevin Aviance, Pearl, Dapper Dan Midas, Kotic Couture, Stealya Manz-Blue, DJ Sidekick, and Washington Heights. 9:30pm 🎟 : https://www.eventbrite.com/e/haus-party-a-very-queer-prom-tickets-541971099147 (at The Crown) https://www.instagram.com/p/CpNgIfeuZCW/?igshid=NGJjMDIxMWI=
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DDm is True to His Baltimore Self in ‘PULL UP’ Video
View this post on Instagram
Tomorrow my visual for ‘PULL UP’ premieres. It shows a different side of me I used to run from. I used to try to be so polished and industry that I forgot the charms of being rough around the edges from Baltimore City. Thanks to @karn_nabi_and_colossus for letting me dress you up.
A post shared by DDm (@goddm) on Nov 24, 2019 at 7:06am PST
Baltimore bred rapper DDm, short for Dapper Dan Midas, isn’t your ordinary story hitting Hip-Hop. One of the most talented battle rappers on the scene, the talent of DDm isn’t limited to the battle stage, instead, carries over to the booth, crafting records as a member of Bond St. District, but also as a solo artist, crafting he local heralded Beautiful Gowns. But is that enough to establish satisfaction? Not hardly.
The LGBTQ rapper is familiar with the stigma that is carried through Hip-Hop about sexuality and if his time on the battle circuit is any indication, he is more than ready to prove himself.
“I always tell people my stepdad was super hard on me. He would beat my ass, some would say it was child abuse but he knew who I was before anyone knew who I was. He prepped me for the world I would be living in, opposed to what he would like for me to live in. I’m not into having a conversation in defending my sexuality, but I will beat your ass when it comes to these microphones and these ciphers.”
DDm bleeds Baltimore to his core. He will speak on the streets and the creative scene. His bravado is only boasted more by his bars. And his energy is infectious and vibrant, letting fans and peers know that he is a full-on talent, but not the one to play with at the same time.
Although DDm will tell you that he loves Baltimore, he does understand that his hometown was not the easiest place for him to grow up. As a member of the LGBTQ community, DDm often found that there were not many places that were considered safe places for him. Barbershops were dominated by the masculine undertone customary with banter across the nation. One of his goals is to make the world more inclusive to LGBTQ members, for him, what better place to start than HIp-Hop?
“The kids who are like me, sitting at home right now, I want them to go in aggressive. Hip-Hop is a competitive sport and you can’t go in being a weakling. You have to be strong. I want to show strength, a regal presence and someone who will be respected. That’s for media outlets, other rappers and whatever, to at the end of the day say ‘he killed that shit,'” DDm shared. “I want the kids like me to say DDm he makes us look good, he commands respect. I don’t aim to overexaggerate a piece of me, that’s not who I am. Yes, I get my nails done but that’s one piece of me. That 3D representation is very important. Yes, I can get my nails painted, but I can wear Timbs, go to that cipher and kill it.”
The talent of DDm is on display in the video for his new single “Pull Up.” The song carries a bounce to the streets of Baltimore and serving as an anthem for those who are not to be tried. The infections “Who the f*ck is you talking to” is met in the video by various art forms and the final confrontation as DDm made sure he did a “Pull UP” on who he had an issue with. The song and video are available below.
youtube
The post DDm is True to His Baltimore Self in ‘PULL UP’ Video appeared first on The Source | The Magazine of Hip Hop Music,Culture and Politics.
from Young And Hungry Entertainment https://ift.tt/2KSX6eD
via Young And Hungry Ent.
source https://youngandhungryent.blogspot.com/2019/11/ddm-is-true-to-his-baltimore-self-in.html
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