Dramacow Kevin Allred - Professor of Beyoncé Studies (no, seriously), arrested for threats to kill Trump voters.

kcbbq

A Shaggs record would be a sound investment
kiwifarms.net
@Positron, I'd have quoted that autistic montrosity of a masterpost, but I'm on mobile, and I couldn't handle 4 minutes of scrolling, just so I could spoiler it all.

Anyways, Kevkev has apparently missed the fact that "free education" means he'd receive no pay for his inane drivel, because no one in their right mind will voluntarily pay him for his borderline stalking of Beyonce.
He doesn't mean free, he means well funded by taxpayers. He should be paid a comfortable wage to sperg about his crush.
 

Positron

No more Jingle Bells, hon!
True & Honest Fan
kiwifarms.net
"A white gay that has critical thinking skills." :story:
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I wonder what that guy makes of Kevvie's random tattoos.

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But dressing like a ho and shaking your ass is political activism, at least if you were Beyond-shite.

Speaking of:
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Beyond-shite won't put her trash on Spotify because her pimp, Jay-Z, owns Tidal. You critical-thinking dumb fuck!
(The NME page is off-line.)

Kevvie then goes on a gibbering tirade, just because someone doesn't like that trash.
Even though the author who I will not name claims to be a Beyoncé fan, he drags the songs on Lemonade out of context as if you can take anything from Lemonade outside its larger narrative, let alone its visual counterpart. He just wants attention. & he goes on to say Formation is a bad and juvenile way to close Lemonade -- AS IF FORMATION IS THE RESOLUTION OF LEMONADE. Any Beyoncé fan knows Formation is it's own self-contained piece of work, added as track 12 to Lemonade the album, but isn't part of the visual narrative.

Formation was released with its own stand-alone video months before Lemonade and as track 12 to the visual album is just music for the credits. It's not actually part of the visual album's narrative. This is why Spotify can't handle something as complex as Lemonade. Beyoncé graciously gave you Lemonade on Spotify 3 years later and you're still fucking up the way you talk about it. I can't...

Lemonade as a visual album is psychological journey (note no accompanying emotion/step given to Formation). Lemonade as an audio album encompasses near every genre of American music in one cohesive statement. How is that not good? How is that not GENIUS? #3YearsofLemonade Not to mention all those genres of American music were appropriated by white men and Beyoncé returns them to their rightful place as the creative expression of Black women. Alongside the exploration of Black women in American history through the visuals.

I'm sorry but I get heated when some dipshit wants to spout off about how something Beyoncé does "isn't that good" without having any grasp of its meaning and scope. Fuck off, dude, and research what you're talking about.

HAVE SOME RESPECT FOR BLACK WOMEN AND BLACK WOMEN'S HISTORY IN AMERICAN MUSIC AND QUIT USING HATING ON BEYONCÉ FOR CLICKS WHEN YOU KNOW DAMN WELL HER ALBUM CHANGED THE MUSICAL (AND VISUAL) LANDSCAPE ONCE AGAIN. #3YEARSOFLEMONADE

this isn't standing or hyperbole. this is just the motherfucking truth about a groundbreaking album and artist who continues to innovate and leave everyone else in her dust.
How dare you write this glorified blog post about thinking Lemonade is overrated because you don't understand music or history or good writing for that matter. Let me go watch #Homecoming again to cleanse my aura of this bullshit.
"Beyoncé graciously gave you Lemonade on Spotify" -- Hallelujah!!

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"Taylor Swift released her rehersal tracks! She totally copied Beyond-shite!"
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You may not like them but Taylor Swift, Lady Gaga or Adele aren't "nobody pop stars".

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He should change his name to Russell Allred.

Someone laughed at my politics! I wish him death!
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BERNIEEEEEEEEEEEEEEEE!!!
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Seems Kevvie has his career path sorted out:
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He should be glad that his department hasn't curb-stomped him.

Still Kevvie seems flushed enough to buy all these novelty T-shirts:
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AnOminous

Really?
True & Honest Fan
Retired Staff
kiwifarms.net
It might just be the angle and lighting, but he looks like he's put on weight. It makes him look even more empty and lifeless.
He has nothing to do but sit around listening to bubblegum music, eating Cheetos, and waiting for his lolsuit to get thrown out.
 

Positron

No more Jingle Bells, hon!
True & Honest Fan
kiwifarms.net
Someone has saved the NME article that got Kevvie frothing at the mouth.

NME said:
Now that it’s finally on Spotify, I’m gonna say it: Beyoncé’s ‘Lemonade’ actually isn’t that good
by Jordan Bassett.

And definitely nowhere near as good as 2013’s game-changing alt-pop classic ‘Beyoncé’

Look, I love Beyoncé. Everybody does! I believe it might actually be illegal to not like Beyoncé; doubters are routinely rounded-up and forced to watch Homecoming with their eyes taped open, and if they still don’t like it the Beyhive squeezes lemons into their ungrateful eyes. Or so I’ve heard. Her 2013 self-titled album is a stone-cold classic, one of the greatest records of all time (you heard me), a near-perfect collection that combines sweet pop confection with ice-cool production, at once universal (‘XO’) and intensely personal (‘Blue’).

That was the moment that Beyoncé Giselle Knowles morphed from world-dominating pop star to cultural behemoth, an icon in the truest sense of the word, rarely giving interviews because in simply being Beyoncéshe speaks for millions of people around the world. So, looking back, follow-up ‘Lemonade’ was almost inevitable, a cultural event that became bigger than the sum of its parts. Since it landed on Spotify – and all other streaming platforms, whatever they are – over the weekend, now’s a perfect time to reassess.

Rumours of husband Jay-Z’s infidelity had been doing the rounds for years, and then there was the elevator incident in 2014, when footage leaked of Solange attacking him in a lift after the Met Gala. Beyoncé’s perfect image was being infiltrated by something that alarmingly resembled real life. And so, in a bold and ingenious move, Bey reclaimed the narrative with a concept album (and an accompanying full-length video) that takes its title from a sample of Hattie White, Jay-Z’s mum, referencing the famous proverb about life and lemons. Here a fictionalised Beyoncé recounts her discovery of her husband’s infidelity, warns him “if you try this shit again, you gonna lose your wife” and ultimately moves forward.

Yet the above hints at what ‘Lemonade’ actually represents: a bold and ingenious marketing move. A means of quashing those rumours, and of staying married to Jay-Z remaining – yassss, queen! – a totem of empowerment. Last year’s ‘On The Run II’ world tour could equally have been called ‘The Jay-Z Is Really, Really Sorry Tour’ as she dragged him, tail between his legs, around arena after arena. By the end of it he looked like Droopy the depressed dog.

‘Lemonade’ arrived from nowhere (a tactic that 2013’s ‘Beyoncé’ pioneered) and was only available – until now – for streaming on the Jay-founded Tidal. Even this added to his humiliation, as she helped him out by attracting 1.2 million subscribers to the ailing platform, which remains as clumsy as much of his latter-day flow. As a bonafide cultural event, it was absolutely impeccable. The record became a meme machine, as it was precision-engineered to be. Who was Becky with the good hair? The Beyhive erupted with theories, websites rounded-up potential candidates – and Beyoncé remained silent. She’d already successfully had her say.

Away from all that hoopla, though, is ‘Lemonade’ actually that good? Does it hold as up solidly as the brilliant ‘Beyoncé’? If you’ve managed to get 478 words into this article without deducing I think the answer’s ‘No’, I have troubling news for you: I think the answer’s no.

It’s a clumsy, overwrought, sometimes quite embarrassing album, the cringe-counter racked up the highest on ‘Hurt Yourself’, a Jack White collaboration that plays into all of his overcooked techniques – staccato verse lurching into a histrionic chorus that tumbles forward, as though he’s trying to carry it himself and buckled beneath his own tiny feet – before Bey shouts gratingly through the final third, seeming to confuse emotion for sheer volume. But that’s got nothing on ‘Daddy Lessons’, a toe-curling hoedown that combines brassy parps with Paolo Nutini acoustic guitar, lyrically drawing a line between Beyoncé’s hangdog husband and her father, who was apparently unfaithful to her mother. Look, there’s unsubtle and then there’s the goofy, my-first-rodeo solo that appears comes at the end.

‘Sandcastles’ is annoying because it’s the kind of by-numbers ballad that might have appeared on as pleasant enough filler any of Beyoncé’s four pre-iconic solo records, but because it’s wrapped up in this cultural event bubble wrap, we have to pretend it’s something more significant. ‘Freedom’, featuring Kendrick Lamar, contains a moving civil rights message, but the music – howling synths, whirling organs, pounding percussion, throaty vocals, overlapping gospel choir – is a coagulated blob of sound impossible to swallow.

True: the lilting ‘Hold Up’ is an enjoyable model of restraint, even if the central lyric is cribbed from – of all places – Yeah Yeah Yeahs. And the pulsing ‘6 Inch’ is effectively atmospheric, even if its best bit, the bridge, owes a debt to Animal Collective, who are credited as it borrows phrasing from their song ‘My Girls’. (Very Beyoncé: her team initially thought the ‘6 Inch’ refrain was original, realised it wasn’t, and so simply paid Animal Collective the royalties because, like, they could afford it.) Even ‘Formation’, one of the greatest songs of the decade, sounds somehow underwhelming, tacked on as an afterthought.

In fact, listening back today, it’s amazing how awkward ‘Formation’ sounds clinging to the end of ‘Lemonade’, as though Beyoncé recorded it for a Spider-Man movie and was contractually obliged to glue it to the album with web fluid. ‘Formation’ is a vital state-of-the-world address centred on race relations; the rest of the record’s more concerned with damage control on brand Beyoncé. It’s baffling such a cynical project has been a potent symbol for empowerment.

‘Lemonade’ kickstarted a Jay-Z-is-really-so-sorry trilogy that continued with his return-to-form ‘4.44’ (which featured more Tidal-based self-flagellation: “Y’all think it’s bougie… I’m like, it’s fine / But I’m tryin’ to give you a million dollars worth of game for $9.99) and concluded with the couple’s gooey collaboration ‘Everything Is Love’. The correct quality ranking of that trilogy is as follows: ‘4.44’, ‘Everything Is Love’, ‘Lemonade’. But none of them comes anywhere near ‘Beyoncé’.

Wait a minute – what are you doing with that lemon? Put it down! No! Stop!
While looking for this article I came across this fun forum: full of SLAY_KWEEN and "white males how dare you criticize black women!"
 

Beautiful Border

kiwifarms.net
I'm still curious exactly who is good enough to be president for him. He whines endlessly about how terrible Trump is, but has so far ruled out for voting for any of the major contenders for the Democrat nomination in the next election. But I think he also once said that not voting was a sign of privilege. So who're you going to vote for, Kevvie?
 

Senior Lexmechanic

Shitposting displeases the Omnissiah
kiwifarms.net
I'm still curious exactly who is good enough to be president for him. He whines endlessly about how terrible Trump is, but has so far ruled out for voting for any of the major contenders for the Democrat nomination in the next election. But I think he also once said that not voting was a sign of privilege. So who're you going to vote for, Kevvie?
Beyonce. Is that even a question?
 

Rekkington

Obama chuckled. "You mean the chaos emeralds?"
kiwifarms.net
Almost all the mega successful rock musicians of the 50s and 60s explicitly cited him by name as an influence in some form or another, from the Stones to Clapton to Zeppelin and even Bob Dylan. I think his claim to huge influence is pretty merited.
Yeah but he's not the only person they mentioned as influences, they all mention radically different influences. Each one of those bands has a handful of influences they cite from different genres, I know for a fact some of them cite classical music and we're not over here saying fucking Bach is the father of Grunge.
 

PurpleSquirrel

"He who dies with the most stories, wins."
kiwifarms.net
What are you saying, Ave Maria is clearly the proto-grunge track with its down-tempo, long sustained vocals and a thick heavy atmosphere :lit:
Some people cite this tune as the first "heavy metal" song, and the classical influence is obvious in the organ parts (especially the opening):


Oh, and Kevvie? More stupefyingly ignorant, deranged, and obnoxious than ever.
 
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niggers

GOT A FEELING I CAN'T SHAKE IT
kiwifarms.net
i love how he never mentions what he teaches in those "wahhhh schools don't pay me enough" posts

like he knows a normal person will go "yeah, the school system needs to pay you more for....wait, beyonce studies? are you fucking serious? my taxes pay for that?"
 
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Positron

No more Jingle Bells, hon!
True & Honest Fan
kiwifarms.net
Kevvie is a Phil (ADF) who's yet to troon out:
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WHITE WOMEN Reeeeeeeeeeeee!!!!!!!!!!!!!!!!
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WHITE MEN Reeeeeeeeeeeee!!!!!!!
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This means WAR!!
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There are also plenty of abortion bullshit but it is just the usual liberal NPCism, except this gem:
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No, "pre-born children" is not an oxymoron, because the fetus will develop and be born if not for outside, medical interventions. Comparison with Kevin's financial status is stupid, because he will never be a millionaire short of divine intervention.
 

PurpleSquirrel

"He who dies with the most stories, wins."
kiwifarms.net
Phil has an unintelligible "sleeve" of random autistic shit tattooed on him because he's literally so exceptional he collects tard bucks for it. What the fuck is this cocksucker's excuse?
He's an attention whore. But he's too stupid and crazy to do it in a manner that isn't self-destructive.
 

Stock Image Photographer

Commander of the Canadian Nazi KKK League
kiwifarms.net
WHITE MEN Reeeeeeeeeeeee!!!!!!!
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This means WAR!!
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Whenever pansy-ass faggots like Kevin make these statements like, "We need to FIGHT, this is WAR, everything will be awful forever unless we do something RIGHT FUCKING NOW," the first thing I think is that I'm really glad that this self-induced stress and fear of theirs has likely taken a decade off their lifespan. The second thing I think is that I really want a small army of ANTIFA idiots to try to start a revolution so they can be brutally put down.
 

AnOminous

Really?
True & Honest Fan
Retired Staff
kiwifarms.net
Whenever pansy-ass faggots like Kevin make these statements like, "We need to FIGHT, this is WAR, everything will be awful forever unless we do something RIGHT FUCKING NOW," the first thing I think is that I'm really glad that this self-induced stress and fear of theirs has likely taken a decade off their lifespan.
Especially when it's from some limp wristed post-twink flabby fairy like Kev. What's he going to do to fight?
 

Positron

No more Jingle Bells, hon!
True & Honest Fan
kiwifarms.net
It's Kevvie's BIG DAY!
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His new profile pic is from his book party, him standing in front of a screen with images of sluttily dressed women.
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Other pictures. Note there is no attendants in sight.

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Oops I spoke too soon; there was an attendant:
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His vanity press has arranged interviews for him too (although he spends much of it talking about his syllabus instead of his book):
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Diva Behavior
Can We Call Beyoncé a Genius Now?

by Evette Dionne
Published on June 11, 2019 at 12:40pm

Beyoncé is one of the world’s foremost artists and game changers: Her self-titled 2013 album, dropped in the middle of the night with a full visual accompaniment, changed how record labels promote and release albums. Since then, she’s released a genre-bending album complete with a movie that premiered on HBO; became the first Black woman to headline Coachella; and turned her historic HBCU-celebrating performance into a Netflix documentary and a live album. It’s impossible to deny Beyoncé’s excellence now, but there was much less consensus in 2010 when writer, speaker, and educator Kevin Allred began teaching Politicizing Beyoncé.

Allred’s course, first taught at Rutgers University, strategically paired Beyoncé’s music videos and lyrics with Black feminist and womanist texts, such as Sojourner Truth’s “Ain’t I a Woman” speech, Octavia Butler’s 1979 book Kindred, and Melissa Harris-Perry’s 2011 book Sister Citizen: Shame, Stereotypes, and Black Women in America. Now, Allred’s ever-evolving syllabus has expanded into Ain’t I a Diva: Beyoncé and the Power of Pop Culture Pedagogy, a book that brings his classroom conversations about race, gender, class, and one of pop culture’s biggest stars to all of us.

Ahead of the book’s release, Allred and I talked about the enduring powerful of Queen Bey and the Black women writers, thinkers, and musicians who paved the way for her.

Ain’t I a Diva is derived from Politicizing Beyoncé, a course you’ve been teaching since 2010 that pairs Beyoncé’s music and videos with Black feminist texts. Take me back to 2010. What prompted you to create the course?

It was a combination of a couple things. I was a grad student teaching mostly intro Women’s and Gender Studies classes at the time, and assigning Daphne Brooks’s article about B’Day [in] The Nation, which came out right after the album in 2006, was one of the first things that got [those] students really excited. She did a more academic version of the article later, but [the article in The Nation] was the first analysis piece I’d found on Beyoncé. I would give it to students as part of this whole intro to race, gender, [and] sexuality. [On] those days, the students were always much more engaged, even if they were arguing. The energy in the room was so good.

In 2010, someone dropped out of teaching this special-topics course, which is [a class] you put together [based around] whatever you’re researching [or are] interested in. I was asked to [develop the class], and I was like, Okay, this is the perfect chance to teach Beyoncé for a whole semester. I wanted to do it as not just the class about Beyoncé, but as an intro to feminism through Black women’s work, activism, and history. I always say Black women created feminism, and then it got whitewashed. I wanted to go back to [the origins] and have students talk about race, gender, sexuality, class, and all the different oppressions that exist through the lens of only Black women’s work.

I’d put Beyoncé’s songs with different readings from Black women to spark conversations about the videos [and] lyrics. She’s always been a visual artist, but she didn’t have many visuals [in 2010]. At first, I put a few other artists on the syllabus as well, but there’s an overabundance now [since] Beyoncé’s put out more and more material. I can’t even include as much as I want to because she has so much work.

Since 2010, Beyoncé has released her self-titled album and Lemonade, which both revolutionized how record labels and artists release music. How has your thinking and researching evolved as Beyoncé’s artistry has evolved? How has your class shifted to accommodate everything she’s done over the past nine years?

You never know what Beyoncé will do next. I know [that causes] some people anxiety, but it’s fun to anticipate what Beyoncé might do next. We never know and I’m never spot on with it, but researching and closely analyzing the older stuff gives you a sense of what she might do next. That’s what I did in the book. After a few rewrites, [I decided to] start with Lemonade and then show through other chapters how similar things have been in [her earlier] pieces. They become fully fleshed out in Lemonade.

In 2010, people [were] like, “Are you going to say that Beyoncé [is] political? We don’t believe this. We don’t think that there [are] politics hidden in the music.” Now, Beyoncé’s [making the] politics a bit more explicit [because] she has a bigger platform. It’s a mix of her growing older, finding a stronger voice, becoming a mother, [and not] having to worry about record sales. She drops whatever she wants now, and the politics come through louder. That’s been interesting for me because the class was about creating these conversations, pairing a reading that really didn’t have anything to do with Beyoncé with a Beyoncé song. And now those two things are coming much closer together in her work. In some ways, it leaves a little less to analyze; she’s answering the questions that we would’ve asked in class or [that] I ask in the book.

It’s exciting as a fan and sometimes frustrating if you have to rewrite a whole book. I had one version of the book done before Lemonade came out, and then it was like, whoops, this can’t come out without talking about Lemonade. It had to be completely restructured. I was really happy with the way it turned out. Lemonade is such a monumental piece of work. There [are] few albums today that will go down as [one of] the greatest of all time, and [Lemonade] is definitely at the top of the pile.

When you first created the class, I remember there was a lot of criticism. Many people questioned if Beyoncé was worthy of academic inquiry. What do you remember most vividly about that time? How did you navigate the criticism?

I tried to silently counter that criticism [with] the syllabus. It’s not all academic work, but it’s all published work that’s considered in other capacities. English classes read Toni Morrison, and it’s a completely valid thing to study. At the time, I even said, “People will have a full class built around Shakespeare or some other dead white man, [so] why not [create a class about] a person who’s creating just as culturally significant work?” A few [other] classes had been created around celebrities at the time, and there [are] even more now. It’s becoming more accepted that pop culture is [one way] to reach students. [My] syllabus would always get signed off [on] and was [considered] academically rigorous. You could criticize the fact that we’re talking about Beyoncé, but you can’t look at all the sources or the bibliography of the books [on the syllabus] and say it’s not based on anything.

(Evette Dionne is Bitch Media’s editor-in-chief. She’s all about Beyoncé, Black women, and dope TV shows and books. You can follow her on Twitter. )

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The editorial reviews on Amazon are very enthusiastic, and all customer reviews are 5 stars!
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But you know the most interesting thing?
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"With Pure for Men you’ll have clean sheets and zero stains."
A diet of cheetos, Louisanna hot sauce, and Beyond-shite does wonders to your alimentary canal indeed.
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Kevvie puts up a Beyond-shite reading list:
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"People bow and pray, to the neon gods they made."
It is symptomatic of the postmodern, late capitalist condition that people profess religious faith on consumer products.

And I'm worried that Beyond-shite "scholarship" has metastasized:
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Lemonade "syllabus" that includes almost 150 articles. I doubt even a Master degree course requires so much reading.

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At this point, the Humanities is well-neigh indistinguishable from TV Tropes.
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TAYLOR SWIFT!!!!!!!!!!!!
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FUCK YOU DAD AND MOM?!
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I'll like to see how Kevvie would respond if someone claims the Pride Month "is literally just another basic ass month in the grand scheme of things", or that pride parades are "performative nonsense".

And note he chooses to post this shit on Father's Day, not Mother's Day. Kevvie is a properly house-trained male feminist.
 
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The Shadow

Talk to the Hand
kiwifarms.net
"A white gay that has critical thinking skills." :story:
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I wonder what that guy makes of Kevvie's random tattoos.

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But dressing like a ho and shaking your ass is political activism, at least if you were Beyond-shite.

Speaking of:
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Beyond-shite won't put her trash on Spotify because her pimp, Jay-Z, owns Tidal. You critical-thinking dumb fuck!
(The NME page is off-line.)

Kevvie then goes on a gibbering tirade, just because someone doesn't like that trash.

"Beyoncé graciously gave you Lemonade on Spotify" -- Hallelujah!!

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"Taylor Swift released her rehersal tracks! She totally copied Beyond-shite!"
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You may not like them but Taylor Swift, Lady Gaga or Adele aren't "nobody pop stars".

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He should change his name to Russell Allred.

Someone laughed at my politics! I wish him death!
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BERNIEEEEEEEEEEEEEEEE!!!
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Seems Kevvie has his career path sorted out:
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He should be glad that his department hasn't curb-stomped him.

Still Kevvie seems flushed enough to buy all these novelty T-shirts:
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I hate him. Am I Fox News now?
 

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