Which Boy Band Stereotype Are You?

You got: The Heartthrob

You’re the unofficial face of the band. You love to be the center of attention in interviews, but you’re pretty low-key and don’t like to create controversy or drama. You’ll probably have a good solo career.

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You got: The Bad Boy

You’re the one who keeps the band in the news with your crazy antics and new tattoos. You’d like to be mysterious and brooding, but you’re a little too outgoing for that.

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You got: The Boy Next Door

You’re shy, quiet, and adorable. People think you’re a little nerdy, and you’re okay with that. You’re very committed to keeping the band together because your friends are like family to you.

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You got: The Artsy One

You’re known for being ~sensitive~ and ~deep~. You probably write a lot of the band’s lyrics. You’re focused on the music, not the image. You like to be known as the talent, but you don’t like to be in the spotlight. You’re ambitious, but will always stay loyal to the band.

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You got: The Goofball

You don’t take yourself, or anyone, too seriously. You’re here to have a good time, not please the critics. You play pranks on your bandmates and have no problem getting pranked in return. Some people think you’re not as important, but your energy is actually vital to creating a personality for the band.

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15 Festival Horror Stories That Will Make You Want To Never Leave The House


The golden triangle:

“At Download 2005 there were three biker looking guys stood in a circle urinating into each others mouths, somehow all at the same time.”



The riot:

“I was at this bluegrass festival, a low key kinda local festival, and things got violent over some political shit. Luckily everyone was drunk and couldn’t see their own hand in front of their face. As I dragged my drunk friends home I saw some guy mercilessly beating up a shrub and screeching absolute nonsense.”



The double explosion:

“At Reading 2016, a guy had left the door open to his portaloo and when I opened it to go in he was gripping the sides of the stall and had wedged his ass in the toilet seat, exploding from both ends. I stood in his vomit and couldn’t bring myself to wear those shoes for the rest of the weekend.”



The loose hose:

“Went to Benicàssim in 2008. One day at the campsite, as the porta-loos got emptied my the trucks, a hose came loose and a girl got absolutely covered in a horrific mixture of piss and shit.”



The litter picker:

“I worked as a litter picker at the Isle of Wight festival for a few years, and every year we were surprised at just how many shits in carrier bags or sandwich bags there were. My friend who was doing her first year went to pick up something and screamed. ‘That’s not a sausage!’ she shrieked.”



The windmill:

“I was standing in a queue for food with my mum at Leeds Fest. Turned around to see some guy relieving himself while windmilling his penis. It definitely put me off eating.”

– ellakt


The turdbuster:

“My mate decided it was a really good idea to wear an overall-type Ghostbusters costume to V Festival and try use the toilets. Ten minutes later when he re-dressed and came out he was covered from the shoulders down in other people’s shit that the costume had acquired while around his ankles.”



The takeaway:

“Seen a girl take a shit in a noodle box at Download festival.”



The toilet break:

“I was watching Stereophonics at T in the Park one year and having the time of my life. This group of girls were dancing about in front of me and one of them declares that she has to pee and it cannot wait. She then proceeds to pull down her shorts and did her business right in front of us. I have never seen so many people back away from someone in my life. It was rank.”

– rebeccad4b53c03f6


The crowd surfers:

“I was about 13 or 14 at a festival to see one of my favourite bands. I was really excited to make my way to the front and being so short meant that most of the crowd surfers went straight over my head unnoticed… Until I smelt the strong stench of beer and realised a crowd surfer had vomited all over me.”



The sleeping bag:

“I climbed into my sleeping bag only to discover that someone had done the deed in it and forgot their condom.”

– zanderniemand17


The afternoon drink:

“Back in 2009 I went to Exit festival in Serbia. We were sat in a bar area at 3pm in the afternoon and a random guy stands up on a step, gets his knob out and continues to perfectly aim his piss into his mouth, swallowing some and then spitting the rest side to his side. He then just casually walks away.”



The brown wedding:

“At Bloodstock a few years ago, we camped next to a group called Camp Catastrophe – can’t remember if that’s just what we called them or if that’s what they called themselves. Nice bunch of kids but a bit wild. One of them had brought along a wedding dress, which someone shat on.”



The muddy path:

“Went to Rock Fest in Canada a few years ago and the worst thing I saw there was a row of porta-potties and behind them was a dumpster. Guys were peeing there and it created a muddy path and someone ran though it and fell in the urine/mud.”



The tower:

“At Phoenix Festival in ’96, the porta-loos were piled high over the toilet seats with shit. People had just been shitting on each other’s shit, not bothering to try and flush, and it must have easily been several inches over the height of the seat. Felt so sorry for whoever had to try and deal with that horror show.”


Note: Submissions have been edited for length and/or clarity.

Do You Have The Same Opinions On Emo Albums As Everyone Else?

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Which Fall Out Boy album is the best?

  1. <i>Evening Out With Your Girlfriend</i>


    Evening Out With Your Girlfriend

  2. <i>Take This to Your Grave</i>


    Take This to Your Grave

  3. <i>My Heart Will Always Be the B-Side to My Tongue</i>


    My Heart Will Always Be the B-Side to My Tongue

  4. <i>Under the Cork Tree</i>


    Under the Cork Tree

  5. <i>Infinity on High</i>


    Infinity on High

  6. <i>Folie a Deux</i>


    Folie a Deux

  7. <i>Save Rock and Roll</i>


    Save Rock and Roll

  8. <i>PAX AM Days</i>


    PAX AM Days

  9. <i>American Beauty/American Psycho</i>


    American Beauty/American Psycho

Choose Your Favorite K-Pop Girl Groups And We&#039;ll Reveal What People Love Most About You

Choose Your Favorite K-Pop Girl Groups And We’ll Reveal What People Love Most About You

You got: Your Positivity

People love your positive personality! You always manage to improve the mood of any room you’re in and you never fail to see the bright side of a situation. You’re just like a ray of sunshine, everyone wishes they could be as positive as you.

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You got: Your Kindness

You never fail to help others around you. You’re a good listener and you’re considerate of other people’s feelings. Your kindness is what makes you stand out and it is the main reason people love you so much.

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You got: Your Sense of Humor

People love your sense of humor. You never fail to make others laugh with your witty jokes. Whenever someone is down you manage to cheer them up with your lighthearted humor.

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You got: Your Work Ethic

You’re the type of person who’s always working hard to achieve their dreams. Not only does this give you a strong image, but you also inspire others with your hard work. People admire you for your endless motivation.

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You got: Your Creativity

Your creativity always keeps people around you entertained. You make the most boring things interesting and never fail to suggest any exciting activities to do on days off. Your creativity is reflected onto everything you do.

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You got: Your Intelligence

People love how smart you are. You never fail to give good advice. You’re not just smart at school, but in life too! You might not know everything, but you’re the fastest learner amongst your group of friends.

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Taylor Swift Is Coming Back To Spotify And Her Fans Are Losing Their Minds

In November 2014, Swift ghosted Spotify and pulled all her music from the streaming service. Less than a year later, she announced she wouldn’t release her new album1989 on Apple Music because of what she called the service’s “shocking” and “disappointing” policy of not paying artists and rights holders for music streamed during a three-month free trial period. Swift’s criticism made waves in the industry: Apple Music quickly changed its policies so it would pay artists royalties during free trials. In response, Swift eventually released 1989 on Apple’s streaming service and then gave the company an exclusive on the film made about the accompanying tour. She withheld1989 from Spotify and other services.

All that’s about to change. On June 8, Swift’s management tweeted, “In celebration of 1989 selling over 10 million albums worldwide and the RIAA’s 100 million song certification announcement, Taylor wants to thank her fans by making her entire back catalog available to all streaming services tonight at midnight.”

Jay Z, Tell Us What “4:44” Is Already

Soon, many people began wondering if a new Jay Z album was on the way. It has, after all, been four years since he released his last set, Magna Carta Holy Grail.

Many people speculated the cryptic ads were promotional images for a forthcoming album after resourceful fans discovered they were linked to Tidal. And Tidal is primarily owned by Jay Z.

At this point, it’s unclear if Jay Z is involved in the production of the film.

Tidal and Jay Z did not respond to BuzzFeed News’ request for a comment.

“Wonder Woman” Is Good, Praise Zeus

Clay Enos/Warner Bros.

Gal Gadot as Diana in Wonder Woman.

Wonder Woman does not go undercover easily.

In what’s maybe the most gratifyingly funny interlude in Patty Jenkins’ new film, the Amazon — real name Diana (Gal Gadot) — tries on a series of 1910s-London-appropriate outfits at the behest of Steve Trevor (Chris Pine, really as charming as he’s ever been), an American spy working for British intelligence who’s attempting to get his new colleague to do some blending in.

Diana submits herself to the doomed exercise with anthropological curiosity, hoisting up ruffled skirts to see how they perform during kicks, dismissing a high collar as itchy and confining, and finally emerging in an outfit that was clearly intended to come off as prim, but instead looks fabulously bluestocking chic. Steve retaliates by reaching for the go-to accessory of all superheroes in preposterous normcore disguise — glasses. “Really? Specs?” his beleaguered secretary Etta Candy (Lucy Davis) groans. “And suddenly she’s not the most beautiful woman you’ve ever seen?”

Clay Enos/Warner Bros.

Steve Trevor (Chris Pine) and Diana (Gadot).

Diana is a battle-trained, semi-divine, and, yes, statuesquely lovely princess from a mystical island inhabited only by female warriors. There is no hiding her light under a barrel in Wonder Woman, an endearingly earnest film whose biggest surprises come from how much it diverges in tone and style from the earlier superhero installments with which it shares a fictional world.

In playing catch-up with Marvel’s inescapable franchise of linked movies, DC made the pragmatic choice to skip right from Man of Steel to the big stuff, to supergroup movies Batman v Superman: Dawn of Justice and Suicide Squad — cynical, aggressively dark productions plagued with confounding motivations, odd tonal choices, and too many characters to service. It was in Batman v Superman: Dawn of Justice that Gadot’s Wonder Woman was introduced, in a set of appearances that included a scene in which she sits at a laptop and effectively watches teasers for future DC Extended Universe installments.

Elegantly done it was not, though Diana and her niftily cello-forward musical theme made an impression in even squandered screen time, there amidst the brooding men and their memories of their mothers. She seemed to enjoy herself, something neither the recent, world-weary conceptions of Batman or Superman could say.

What’s striking about her turn in the spotlight in Wonder Woman, beyond its milestone status as a female-centric studio superhero feature directed by a woman, is the movie’s sense of elated lightness. Aside from the clunky framing device featuring a present-day Diana working at the Louvre, Wonder Woman is freed up to tell a straightforward origin story that takes its title character from a childhood on the Amazon island of Themyscira into the tail end of World War I.

Alex Bailey/Warner Bros.

Antiope (Robin Wright)

It’s a saga, written by Allan Heinberg, with a decent sense of humor, which any story prominently featuring Zeus and a Lasso of Truth demand. Wonder Woman is as outlandish as she is awe-inspiring, and everyone she comes into contact with from the outside world regards her with the appropriate mixture of admiration and disbelief.

That includes Steve, the first man she’s ever met and her eventual romantic interest, who brings that outside world right onto Themyscira’s unspoiled beaches when his plane plummets into the waters nearby, with German forces in pursuit. A fight between the interlopers and the Amazons, led by General Antiope (a brawny, braid-sporting Robin Wright), provides evidence of the women’s leaping, archery-enhanced prowess as well as the ugly power of guns.

It’s enough to spur Diana to act against the wishes of her mother, Queen Hippolyta’s (Connie Nielsen), and leave the island with Steve to fulfill what she believes is her duty and destiny: to kill Ares, the Greek god of war. Ares, she’s convinced, is the cause of the all-consuming conflict Steve’s described to her — World War I. She believes the only reason “the war to end all wars” could be happening is due to Ares’ influence, and that once she defeats him, the violence will be over.

DC’s Wonder Woman, like Marvel’s Captain America, was a character originally conceived during World War II, both of them brawling with Nazis and sporting outfits that evoked the American flag. Wonder Woman’s shift to the first World War feels like an attempt to create some distance from the unavoidable Captain America: The First Avenger comparisons evoked by the plunking of another superhero into period battle, finding comic book–worthy foes hiding amidst the historical ones.

Clay Enos/Warner Bros.

Sameer (Saïd Taghmaoui), Steve (Pine), Diana (Gadot), Chief (Eugene Brave Rock), and Charlie (Ewen Bremner).

Like Captain America, Diana is an idealist who’s strong in her convictions but also inexperienced, driven by an untested certainty that she knows what’s right. For someone who’s just stepping off the isolated island on which she grew up for the first time, she’s recklessly sure she knows what’s best for everyone else, that all it will take is the destruction of the right bad guy — whether it’s the German Gen. Ludendorff (Danny Huston), his poison gas-manufacturing chemist Doctor Maru (Elena Anaya), or someone else.

War has yet to be eradicated from either the movieverse or the real one, so it’s not news that the situation ends up being more complicated than she assumed. Which comes as a shock to no one but Diana herself, after she finagles a way out to the front with Steve and his trustiest mercenary friends — the silver-tongued Sameer (Saïd Taghmaoui), the Scottish sharpshooter Charlie (Ewen Bremner), and the Native American smuggler Chief (Eugene Brave Rock). They’re a seen-it-all crew who, of course, reveal their hearts of gold right when Diana’s confidence is shaken and, along with it, her conception of mankind as fundamentally good unless tainted by forces of evil.

Clay Enos/Warner Bros.

Diana (Gadot) and General Ludendorff (Danny Huston).

Diana, with her fantastical Hellenic backstory, has less explicitly patriotic roots than the military-created Captain America, but in Wonder Woman she serves as an affecting riff on American ideology anyway: She’s a well-intended but naive interventionist, an outsider crashing into a political quagmire she doesn’t really understand but is certain she can fix anyway, sure the solution is as simple as the correct baddie getting killed off.

That’s why, perhaps, her first appearance on the battlefield is so moving (while her climactic conflict is bigger but comparatively underwhelming): Stepping out onto no-man’s-land in full regalia and facing down enemy machine guns in order to free an occupied village, she could be a fantasy of the US as we’d like to imagine ourselves — larger than life, always able to ascertain the truth, and driven by a desire to help that is pure and conveniently unambiguous (no endless counterinsurgency campaigns for her!).

It’s the kind of sequence that can give you goosebumps and provoke a few tears — Wonder Woman emerging from the trenches to save the day. She has the staunchness of someone who sees the world in neat black and white…until she’s forced to consider whether she still feels invested in a humanity capable of doing harm without the influence of a god. Naturally, that god does eventually turn up, because a movie like this needs closure, even if the lesson its heroine learns is that there’s no such thing.

Who knows how Diana will handle it when the Nazis — in whose shadow she was created — come along, or what she does during the murky global conflicts that follow World War II. Fortunately for her, for now, the DCEU is intent on skipping forward to the present day to Justice League, and then Aquaman, and on and on to the less defined future, presuming the world doesn’t end. Because of Wonder Woman, the film and the character, that grand corporate plan doesn’t seem quite as hubristic; she doesn’t feel like another bewilderingly warped, barely recognizable take on an iconic character. She feels like a genuine superhero, intent on protecting those in need — you can tell, even when she’s wearing glasses.