#theres a reason that performance works and theres a reason that trope is popular!

[frankiebirds]

i think my number one issue with frank breitkopf is that they want him to be hannibal lecter sooooo bad. and he isnt hannibal lecter

[omegawolverine]

Plesse tell me about queerness in the get down!!

okay okay queerness in the get down let's fuckn goooo

disclaimer: I havent watched this show in full for like 5 months at least, probably gonna get something wrong and/or forget some more important bits. also this wasnt proof read I just word vomited

tws: period typical homophobia, abuse mention, f slur use, bury your gays trope, overdose mention, mention of a creepy possible age gap (the age gap hasnt been confirmed so that's why its possible), cops

going from least to most prominent queer characters, let's start with mylene cruz!

so, from the beginning of this show she has an established romantic relationship with ezekiel (although the status of their actual relationship changes frequently throughout the show) and though this was a relationship she was hesitant to pursue, it is clear that she does have romantic feelings for him and if not for them both having growing careers in very different music genres (zeke specifically working in a genre that she repeatedly labels as bad because she thinks they're ruining records + that it isnt real music because they're using someone elses piece and rapping over it, that's not really important here tho lol) they probably wouldve had a much healthier, smooth sailing romance. that being said theres a few things that happen in the show that, while not explicitly clear, or even really good coding at that—to the point where you wont catch if you really arent looking for it (and trust me, I always look for coding, hers was just so little that it flew over my head until I saw someone else mention it)—are still cool to think about!

so, for starters, I wanna mention the toy box performance, which was performed by mylene and regina, who are best friends. that's all cool and shit, and you dont really think much about it...until you hear about the fact that the show runners purposely colored a lot of the scenes in that performance with the bi colors. like. the writers after the show ended basically said "oh yeah there was plans to make her coding more explicit, but our shit got cancelled soooo" and then dropped the fact that she was gonna be bi (or at least implies bi) in the series, which puts a new twist on a few things.

now, besides the bi coloring in the background of the toy box performance (which was mostly on scenes with her and regina, which involved a lot of uh,, lowkey lewd dancing. with each other. in very revealing outfits. wooooo), there's her music! I dont tend to read too much into this one bc, like I said before, her coding is fucking light and the writers themselves said they didnt really get to do much with it, but I think some stuff with her music is interesting. specifically how her, yolanda and regina's song set me free blew up because dizzee, resident (lowkey enby coded) bicon, got their song played in a queer club. also that the song was majorly important to dizzee and started playing literally right as he kissed a boy for the first time and realized "oh shit I like boys that's bonkers". also that the song can be taken in a gay way since literally the entire thing is about becoming your true self, fully and unapologetically, which is what both dizzee and mylene's entire character arcs are about. dizzee (and a lot of other queer people, apparently), heard this song about being set free and it resonated with them so much that they got that shit most of its popularity.

speaking of dizzee and mylene, they parallel each other a lot in the way that their arcs are about them realizing who they are, coming into themselves and no longer just letting people treat them like shit in a sense (dizzee starting to tell people essentially that they can call him weird all they want, they can make fun of how he acts, what he likes, how he dresses, etc. but he likes how he is and quite literally saying "it's okay to be an alien" as he has consistently compared himself to one throughout the show vs mylene learning that if she wants to be a disco singer she needs to put her foot down, not let anyone, not even the love of her life, not even her abusive father, stop her from achieving her dreams, etc. and continuing to pursue her career with or without their support). one more little parallel that I think is interesting is during I think s2 towards the end of the show is when dizzee and thor are shown together having fun with each other, painting all over the building and each other and are basically just being happy and in love together and then they have these clips of them being interspersed with clips of mylene at a party where she is starting to realize that if she wants to get anywhere she needs to be her own main priority and that she needs to put her career and her dream, which is what makes her the happiest, above all else if she wants to succeed. idk I just think how the show made these two into a weird parallel, accidental or not, is neat. maybe not an explicitly queer parallel, but I think at least how her music and whatnot helped dizzee, the main queer character in this show, blossom, is important.

moving on we got shaolin fantastic also known as "oh no your internalized homophobia is showing-"

so, heres a quick list of...interesting shao facts:

Consistently referred to as fag/faggot (shaolin fanfaggot is my personal favorite); he gets really defensive about this despite nobody actually thinking he's queer, it's just people being assholes to be assholes, and he is the only character consistently referred to using a slur, especially a homophobic one, especially for a "straight" character. dizzee, a canonically queer character, is called a fag less than shaolin is even though dizzee actively goes to gay clubs, has a not so secret dude he "hangs out with" and wont let anyone properly meet, paints his nails, wears less than straight clothes even by the 70s standards and is just all around the definition of fucking queer (and I mean like in the weird way, not the gay way). in fact theres only like once I can remember him being called a fag and it had nothing to do with him actually being gay it was literally just like thrown out there the same way you would call someone a bitch.

Has only shown sexual interest in women, yet refuses to have deeper relationships with women in general (possibly because of trauma but who knows) but takes his relationships with his "brothers", specifically zeke, very seriously

Tells zeke and zeke ONLY his real name when zeke was planning to stop being his friend bc shao more or less got boo boo, a like 14 year old black kid, arrested for selling hard drugs; he was clearly scared and trying to do anything to keep zeke around, literally chasing him down the street and hounding him until he got zeke to stop and argue with him

Kept threatening to beat up zeke in the end but couldn't actually bring himself to do so, instead saying that zeke is "fucking lucky" before walking away

Let's zeke get away with things that nobody else can, in general just has a weird soft spot for ezekiel that he shows with nobody else

when shao found dizzee with thor in a vaguely compromising situation (like they were just shirtless covered in paint sleeping next to each other but shao had also seen everything they painted on the walls ((which some of it was sus)), it was clear they had painted on each others bodies and dizzee had been routinely disappearing with this guy for weeks now yet not producing nearly as much art, at least, as far as we audience members know) he didnt judge him but instead, waited for him to get cleaned up and then told him something along the lines of "theres a reason why im so secretive blah blah blah [not everyone needs to know everything about me]", which, in context, kinda implies that he might be a lil. a lil homiesexual. jus a lil.

whenever even the possibility of zeke leaving him comes up he absolutely loses it. he has literally cost ezekiel life changing opportunities because he thought zeke would just up and leave him for them. this could be abandonment issues bc he's a severely traumatized character, and that probably does contribute to it, but it also is just not a reaction he has to any of their other friends just randomly dipping in and out of his life soooooo

generally speaking, this mfer has got either bisexual with a big hard on for zeke coding or homosexual with terrible internalized homophobia and still a hard on for zeke coding. either fucking way, that nigga gay. he gay as hell. gay as fuck man. there wasn't really much to analyze here tbh bc the coding is just so fucking obvious if you look for it or you are/have been a gay person who's dealt with at least a little bit of internalized homophobia.

also, just a sidenote, idk how fucking old shao, but I'm praying hes like at max 19 bc I'm pretty sure zeke is a minor in this show and shao definetly is not so the whole him being heavily implied to have a crush on ezekiel thing is kinda. oof. not oof if zeke is like 17 but any younger than that? OOF.

edit: apparently the characters are only supposed to be a year apart in age but i had no clue about that before writing this post and since shaos age was never actually stated in the show i naturally assumed he was an adult since his actor Looks Like An Adult. this is definetly on me to a certain extent, but i also never saw anything about this when trying to find our their ages so 🤷‍♀️ maybe i just didnt look deep enough, sorry!

now moving on to the main event...marcus dizzee kipling :]

so, first things first, let's talk enby coding bc him being bisexual was already confirmed!

um, to start off, I just wanna say I dont think this enby coding was intentional or even really coding, it's just moreso me being a dizzee kin on main and knowing as a transmasc enby he has very transmasc enby vibes. for example:

cool, gender neutral nickname that everyone calls him

paints nails various different colors

the whole wardrobe is just a transmasc enby heaven...fishnet shirts, jean overalls, jackets and cuffed pants galore, the big colorful pins, etc

gender neutral hairstyle (when I had my fro it was very sexy and made it easy to transition between hyper masc and vaguely fem, which is pog)

comparing himself to/representing himself consistently with an alien character (though this is meant to represent his sexuality, it could also double as a gender thing too, not neccesarily bc of the whole nonbinary alien trope but bc an enby who likes aliens might heavily identify or compare themselves to whatever their idea of an alien is, whether that just be a genderless entity or a motherfucker with fly style and no need to be perceived as anything other Wacky As Hell)

moving on from there, let's talk about how his queerness is presented to us and how, while it may be a really good piece of representation, especially coming from netflix, it still lacks in A Lot of places.

so, let's start with good things!

i personally really like the get down's queer rep with dizzee bc it's (for the most part) nonsexualized and very very soft, about dizzee figuring himself out and realizing there is a place where he fits in, and about two teenagers in the 70s falling in love over their shared passion for street art. it also features an interracial couple where both boys challenge stereotypes both about queer men and men of color, which is epic poggers and very sexy. this piece of rep specifically is very important to me bc I am a queer black person and even tho interracial relationships are mostly normalized now, I've still had people give me shit for primarily dating white people in a town that is...primarily white lol

mm anyways, I can also appreciate how in the get down, dizzee being represented by rumi the alien is not a thing specifically related to gender (as it often is) and instead is about his sexuality and just in general weirdness and how it has led to him being alienated amongst his peers, poc or otherwise. him seeing himself as an alien is not about just his queerness, which is important, it is about him being a queer black man who talks different, acts different, dresses different and is "soft"—he isnt a walking black male stereotype and he wouldnt have been seen as masculine back in the 70s by any stretch of the imagination. this can be relatable to a wide spectrum of queer poc, from queer black men currently who still have to deal with this shit or to people like myself who are afab neurodivergent mixed race enbies that have always been signaled out as weird and alienated for it. dizzee is god rep bc while he has a small part in this show, his parts are very impactful, hard hitting and show queer poc of all ages that they arent alone and that it's okay to "weird", you just need to embrace it because somebody will love you for you, as thor did for dizzee.

that being said theres um. some minor problemas here,,,

namely:

dizzee and thors first kiss

the lack of development this pairing got

the way dizzee was confirmed bisexual off screen, he never said the words himself, just showed interest in both genders

the way dizzee and thor were never even confirmed boyfriends or just fwb so most of the fandom just calls them boyfriends bc Why Not

dizzee was implied fucking DEAD??? AT THE END OF THE SERIES?????? AND THOR WAS IMPLIED ARRESTED?????????????

now, these might have been things that wouldve been fine had the show been given it's full run but it wasnt which is why we are now left with probelms.

so, from the top, let's go over these: dizzee and thor's first (and only "on screen") kiss was one that was shown in a montage of other queer people making over and doing other vaguely romantic/sexual things, one of those things being a whole ass naked titty being mouthed at, but the actual kiss...was just not shown? like they really did just say "yes they kissed <3 you know this from the context clues of it being in a montage with kissing, hickey giving and titty sucking <3 but no we will not show it <3" LIKE HELLO? I SAW A NAKED BOOBIE BUT NOT TWO MEN KISS??? HUH????????

also, dizzee and thor were both fucking high as hell during this bit like this isnt a terrible thing but it's also like sometimes you do shit when you're high that you wouldnt do sober and they just never kissed again on screen so like?? like idk that's not that bad but it does kinda irk me since they deadass got no other on screen intimacy after that unless you including painting on eacher other or sleeping next to each other on a shitty mattress but not touching at all during it bc they were both at opposite ends of the mattress like half way off it

so yeah, that was trash. then we got lack of development, which kinda goes with the "dizzee being a bisexual but he never says it in canon" thing cause like...okay dizzee was already sort of a side character from the get go like he wasnt the mc by any means, but he became way more of a background character as things continued until we basically only saw him for performances or when he was with thor, yet they got no fucking development as a pairing other than "dizzee realize he gay, he like thor, he and thor spend time together and ig probably do some gay stuff but we dont really know bc we only ever see them do graffiti together now" like?? tf am I supposed to do with that shit. answer. quickly. and then theres dizzee not being confirmed bisexual, which is just a running problem with shows literally doing everything to say a character is bi except for having the character just...say they're bi? which would be so easy? like a good way dizzee and thor couldve had some development is by thor teaching dizzee things about the queer community that he didnt even know existed, thor couldve helped him understand what being bi meant and helped him label himself and whatnot but instead we got an off screen confirmation that the writers had bisexual in mind when writing him. which is garbagé.

the whole thor and dizzee never having a confirmed relationship status is also a development problem cause like literally nobody knows if they were just friends who made out, maybe fucked, who knows, or if they were dating bc dizzee does give a love confession but a love confession doesn't mean there is a relationship, especially since thor didn't say he was in love either (as far as I remember, I could be wrong, plus whether or not that really happened or was apart of dizzee literally overdosing during a performance is unclear so 🤪)

and now for the biggest issue...bury your gays trope.

during the season 2 finale, dizzee and thor are chased by cops after they are found doing graffiti, one of the cops is able to catch thor while the other chases dizzee into a train tunnel and there is a train seen headed straight for him before the show cuts to black on a train horn. the show writers claim that if they had gotten another season, dizzee wouldve been alive but since they didnt and since that's essentially super fan trivia knowledge, most people dont fucking know that and instead had to watch a black queer teenager chose death over being fucking arrested by a white cop. on top of that, thor didnt see any of that shit because he was caught and the cop started hauling him off while dizzee was still being chased so thor literally has no clue where his friend/possible boyfriend fucking is or that he's likely dead in a goddamn tunnel all alone, unless you count the fucking pig that chased him in there who wouldve died too. this shows rep was so fucking good as far as most shows go on not having major fucking problems, on not being toxic and over sexualized, etc, etc. and then they just. killed a black queer teenager for no fucking reason. like it was literally the last episode ever, it would add nothing to the plot, it would just devastate fans and devastate it fucking did. I dont cry easy but seeing a character I identified with, who I had hyperfixated on, die because he'd rather that than be arrested is terrible. it fucking sucked.

so yeah. that's my all too extensive thoughts/analysis on the get down's queerness. theres definitely stuff I missed, or misinterpreted, or looked too much into, etc, etc., but this was a fun thing to spend time writing sooo yeah!! thanks for the ask anon, sorry this was just a big rambley info dump, but hopefully you get some enjoyment out of it since it took like 3 hours at least 😭😭 feel free to ask clarifying questions lol

[iridescentides]

hi again dia! happy first day of december ❤️💚 i wanted to ask you what, in your opinion, are the 5 most underrated dcoms? i remember you saying before that you've watched all of them so i'd love to hear your opinions 😊 - 🎅🎁🎄

AAAAAAAAAAAAAAAAAAAAHHHHHHHH secret santa you are so good! asking me all the best questions 💜

okay so i literally had to make a list of all the dcoms i consider underrated and then narrow down a top 5. theres lots of dcoms that i love, but that i think got the right amount of attention and care (like lemonade mouth and the teen beach movies, for example), so this list just focuses on ones that deserved more hype for their quality level.

5. The Cheetah Girls: One World (2008)

okay so even as i type this i feel like a hypocrite. i have only watched this movie one time. BUT i can acknowledge that its one of the most criminally underrated dcoms ever, tons of people didnt watch it simply because raven wasnt in it. thats why i avoided it as a child, and i didnt get around to watching it until i did my big dcom binge in 2016. and it was so good. theres a really long post floating somewhere around tumblr full of specifics on why its actually the best cheetah girls movie (my favorite is the second one purely out of nostalgia), so to paraphrase some points from that post:

its a solid example of cultural appreciation, rather than appropriation, as the girls go and learn about bollywood and indian culture together

the indian characters arent treated like props or unimportant sides, they get their own agency and storylines that are important

the songs are good!!!

basically this movie was overlooked and slept on even though in terms of role modeling and social value, and just like the first two cheetah girls movies it was important and impactful.

4. Sharpay’s Fabulous Adventure (2011)

okay so as someone whos very neutral and occasionally negative-leaning towards the hsm franchise (mostly bc its overhyped and not really representative of all dcoms), i was pleasantly surprised by sharpays fabulous adventure. this is another one that i know lots of people skipped right over and dont hold with as much esteem as the main hsm franchise, and that doesnt sit right with me.

i do not agree with the “uwu sharpay was the real victim in hsm” arguments bc in their efforts to look galaxy brained the people who say that overlook the fact that she was a rich white woman who used her power and status to exercise control over opportunities that should have been fairly and freely available for all; they were not “making a mockery of her theater” in the first movie, they were literally just kids who wanted to try out a new school activity that everyone was supposed to be allowed to participate in; and despite allegedly learning her lesson and singing we’re all in this together with everyone at the end of the first movie, she literally showed no growth in the second movie as she fostered an openly hostile environment and favored troy so heavily that it literally cost him his friends, all as part of yet another jealous plan to take things away from people who already have less than her. she was NOT the victim in the main franchise, and she did not seem to exhibit any growth or introspection either.

and that!!! is why sharpays fabulous adventure was so important. in focusing on sharpay as the main character, they finally had to make her likeable. they did this by showing actual real growth and putting her outside of her sphere of influence and control. we saw true vulnerability from her, instead of the basic ass “mean girl is sad bc shes actually just super insecure” trope (cough cough radio rebel), and this opened us up to finally learn about and care about her character. throughout the movie we see her learn, from her love interests example, how to care for others and be considerate. she faces actual adversity and works through it, asking herself what she truly wants and what shes capable of. and in the end, when she finally has her big moment, we’re happy for her bc she worked hard to get there. she becomes a star through her own merit and determination, rather than through money and connections. this movie is not perfect by any means, but it is severely underrated for the amount of substance it adds to sharpays character.

3. The Swap (2016)

okay i know im gonna get shit for this but thats why its on this list!!! just like sharpays fabulous adventure, its not perfect and definitely misses the mark sometimes, but it deserves more attention and love for all the things it did get right!

the swap follows two kids who accidentally switch bodies because of their emotional attachment to their dead/absent parents’ phones. and while i normally HATE the tv/movie trope of a dead parent being the only thing that builds quick sympathy for a young character, they definitely expanded well enough to where we could root for these kids even without the tragedy aspect. we see them go through their daily struggles and get a feel for their motivations as characters pretty well. as a body switching movie, we expect it to be all goofy and wacky and lighthearted, but it moves beyond that in unexpected ways.

the reason the swap is on this list is for its surprisingly thoughtful commentary on gender roles. its by no means a feminist masterpiece, and its not going to radicalize kids who watch it, but it conveys a subtle, heartfelt message that deserves more appreciation. the characters struggle with the concept of gender in a very accurate way for their age, making off-base comments and feeling trapped by the weight of expectations they cant quite put their finger on. we watch them feel both at odds with and relieved by the gender roles they are expected and allowed to perform in each others bodies, and one of the most interesting parts of the movie to me is their interactions with the other kids around them. as a result of their feeling out of place in each others environments, the kids inadvertently change each others friendships for the better by introducing new communication styles and brave authenticity. 

the value of this movie is the subtle, but genuine way it shows the characters growing through being given the space to act in conflicting ways to their expected norms. ellie realizes that relationships dont have to be complex, confusing, and painful, and that its okay to not live up to appearances and images. jack learns that emotional expression is good, healthy, and especially essential to the grieving process. one of the most powerful scenes in the movie comes at the end where, after ellie confronts jacks dad in his body, jack returns as himself to a very heartfelt apology from his father for being too hard on him; the explicit message (”boys can cry”) is paired with an open expression of love and appreciation for his kids that he didnt feel comfortable displaying until his son set an example through honest communication. this is such an empowering scene and overall an empowering movie for kids who may feel stuck in their expected roles, as it sets a positive example for having the courage to break the restrictive societal mold. for its overall message of the importance of introspection and emotional intelligence, the swap is extremely underrated.

2. Freaky Friday (2018)

this is my favorite dcom, and probably my favorite movie at this point. ive always assigned a lot of personal value to this movie (and i love every freaky friday in general), for the message of selfless familial love and understanding. i know i can get carried away talking about this topic; i got an anon ask MONTHS ago asking me about the freaky friday movies and i wrote a super super long detailed response that i never posted bc i didnt quite finish talking about the 2018 movie. and thats bc on a personal level, i cant adequately convey all the love i have for this movie. so i will try to keep this short.

first lets state the obvious: the reason people dont like this movie is bc its not the lindsay lohan version. and i get that, to an extent, bc i also love the 2003 version and its one of my ultimate comfort movies, and grew up watching it and ive seen it a billion times. i even watched it a couple days ago. but the nostalgia goggles that people have on from the early 2000s severely clouds their judgement of the wonderful 2018 remake.

yes, the 2018 version is dorky, overly simplistic plot wise, a bit stiff at times, and super cheesy like any dcom. the writing isnt 100% all the time. the narrative takes a couple confusing turns. the song biology probably shouldnt have been included. i understand this. but at the heart of it all, this movies value is love. and its edge over all the other freaky friday movies is the songs.

on a personal level, the movie speaks heavily to me. i cried very early into my first viewing of the movie bc i got to see dara renee, a dark-skinned, non-skinny actress, playing the mean popular girl on disney channel. that has never happened before. growing up, i saw the sharpays and all the other super thin white women get to be the “popular” girls on tv, and ultimately they were taken down in the end for being mean, but that doesnt change the fact that they were given power and status in the first place for being conventionally beautiful. so, watching dara renee strut around confidently and sing about being the queen bee at this high school got to me immediately. and in general, the supporting cast members of color really mean a lot to me in this movie. we get to see adam, an asian male love interest for the main character. we have a second interracial relationship in the movie with katherines marriage to mike. ellies best friend karl is hispanic. and we see these characters have depth and plot significance, we see them show love, care, and passion for the things they value. the brown faces in this movie are comforting to me personally. additionally, the loving, blended family dynamic is important to me as someone in a close-knit, affectionate step-family.

but on a more general level, this movie is underrated for its skillful musical storytelling and the way it conveys all kinds of love and appreciation. in true freaky friday fashion, we watch ellie and katherine stumble and misstep in their attempts to act like each other. its goofy and fun. but through it all, the music always captures the characters’ intimate thoughts and feelings. the opening song gives us a meaningful view into ellie and katherines relationship and the fundamental misunderstandings that play a role in straining their connection. ellie sings about how she thinks her mom wants her to be perfect, and her katherine sings about all the wonderful traits she sees in her daughter and how she wants her to be more open and self assured. this is meaningful bc even as theyre mad at each other, the love comes through. the songs continue to bring on the emotional weight of the story, as ellie sings to her little brother about her feelings of hurt and abandonment in her fathers absence. the song “go” and its accompanying hunt scene always make me cry bc of the childlike wonder and sense of adventure that it brings. for the kids, its a coming of age, introspective song. for katherine who gets to participate in ellies body, its a reminder of youth and the rich, full life her daughter has ahead of her. she is overcome with excitement, both from getting to be a teenager again for a day, and from the realization that her daughter has a support network and passions that are all her own. today and ev’ry day, the second to last song, is the culmination of the lessons learned throughout the movie, a mother and daughters tearful commitment to each other to love, protect, and understand one another. the line “if today is every day, i will hold you and protect you, i wont let this thing affect you” gets to me every time. even when things are hard and dont go according to plan, they still agree, in this moment, to be there for each other. and thats what all freaky friday stories are ultimately about.

freaky friday 2018 is a beautiful, inclusive, subversive display of familial love, sacrifice, and selflessness, and it is underrated and overlooked because of its more popular predecessor.

1. Let It Shine (2012)

this is another one of my favorite dcoms and movies in the whole world. unlike the other movies on this list, it is not the viewers themselves that contribute to the underrated-ness of this movie. disney severely under-promoted and under-hyped this movie in comparison to its other big musical franchises, and i will give you five guesses as to why, but youll only need one!

let it shine is the most beautifully, unapologetically black dcom in the whole collection. (i would put jump in! at a notable second in this category, but that one wasnt underrated). this movie was clearly crafted with care and consideration. little black kids got to see an entire dcom cast that represented them. the vernacular used in the script is still tailored mostly to white-favoring audiences, but with some relevant slang thrown in there. in short, the writers got away with the most blackness they were allowed to inject into a disney channel project.

the story centers on rap music and its underground community in atlanta, georgia. it portrays misconceptions surrounding rap, using a church setting as a catalyst for a very real debate surrounding a generational, mutlicultural conflict. this was not a “safe” movie for disney, given its emphasis on religious clashes with contemporary values. it lightly touches on issues of image policing within the black community (cyrus’s father talking about how “our boys” are running around with sagging pants and “our girls” are straying away from god), which is a very real and pressing problem for black kids who feel the pressure (from all sides) of representing their whole race with their actions. its a fun, adorable story about being yourself and staying true to your art, but also a skillful representation of struggles unique to black and brown kids and children from religious backgrounds.

on top of crafting a fun, wholesome, thoughtful narrative and likeable protagonists, let it shine brought us what is in my opinion the BEST dcom soundtrack of all time. every single song is a bop. theyre fast, fun, and lyrically engaging. “me and you” is my favorite disney channel song of all time due to its narrative significance; i will never forget my first time watching the movie and seeing that big reveal unfold onstage, as a conversation and a plot summary all wrapped into a song. the amount of thought and care that went into the music of this movie should have been rewarded with a level of attention on par with that of other musical dcoms.

if disney channel had simply cared about let it shine more, it couldve spanned franchises and sold songs the way that other musical dcoms have drawn in success. i would have loved for a sequel that explored and fleshed out cyrus’s neighborhood a little bit more, and maybe dipped into that underground scene they caught a glimpse of. i wanted a follow up on the changed church community once cyrus’s father started supporting his sons vision. i want so much more for these characters and this world than disney gave them in just one movie.

for its bold, unabashed representation of blackness and religion, subtle, nuanced presentation of race-specific issues, strong, likeable characters, and complex, thoughtful songs, let it shine is the most underrated dcom.

and because i made a full list before i started writing this post, here are some honorable mentions:

going to the mat (2004)

gotta kick it up! (2002)

tru confessions (2002)

dont look under the bed (1999)

invisible sister (2015)

[aahsoka]

So having been on tiktok for a bit I wanna talk a little about it.

What I like

It’s actually rather entertaining to scroll through up to 30 second videos one after the other. Sometimes the humor falls flat or it’s not your taste, but the algorithim is quite good at recommending the kind of content you will like.

I joined right when there was a big trend going around about sharing your culture, and soon after a Blackout trend where non-Black creators stopped posting for a day & spread/supported videos by Black creators. So I ended up with a fairly diverse fyp or “for you page”. It also quickly gathered that I am bisexual, so I get plenty of lgbt+ content. There’s some art mixed in there, some cosplay, some historical costuming/seamstresses, lots of avatar jokes lately, musical theatre content, fashion, girls in bikinis on rollerskates (in outer space), commentary on political issues, body positivity, all the kinds of stuff I like. To get a feed that caters to your interests you just have to watch & like videos you’re interested in & eventually it gets a feel for what you’ll watch and what you won’t.

Theres a trend where people say which ‘side’ of tiktok they’re on and I get ‘science side of tumblr’ flashbacks but I’ve mostly avoided the “straight” and conservative sides of tiktok. I would be considered a part of “woke”, “alt” (as in alternative) and lgbt+ tiktok (there are separate ones for each letter of the acronym). Possibly also “theatre” and “cosplay” tiktok. These categories are nebulous and you’re usually part of multiple communities; its just as arbitray as ‘science side of tumblr’ was.

The format reminds me of snapchat a little, and I love to talk to myself on video & post dumb thirst traps for my friends (none of which I’m attracted to so idk what my goal is there) and make stupid jokes. So this app is kinda perfect for my attention seeking side & hyperactive tendencies. Its very easy to consume on a short attention span, though not as easy as vine was.

Being in quarantine, its a way for a lot of people to engage in hobbies that involve community. Cosplay is pretty popular, as its a fun way to show off a costume & dress up & have fun without having to attend a convention. I enjoy the way lip synced audios can be used to emulate the character someone is dressed as; that’s something you couldn’t really do unless you were really good at impressions. Its a nice succinct way to show the process of creating a cosplay as well.

Those who enjoy theatre, but cannot perform in shows at this time, are able to create mini-monologues & sketches as well as sing parts of their favorite songs. Its an avenue through which to perform without putting anyone at risk of the virus. It’s also an easy way to show off your talents without having to go through the audition process & actually get cast in a show as a prominent enough role that someone will notice it.

It’s a convenient format for discourse and educational videos. Nice, short, easily digestible tidbits that stay in your mind. This extremely catchy song, for example: “Black neighborhoods are overpoliced, so of course they have higher rates of crime, and white perpetrators are undercharged, so of course they have lower rates of crime. And all of those stupid stats you keep using are operating off a small sample size. So, shut up, shut up, shut up, shut up”.

As well as other videos where people take the time to explain historical events, satirize racist arguments to demonstrate why they are wrong, talk about prevalent tropes in movies, teach a few signs in ASL, share facts about their culture, etc, etc. I have found there are quite a lot of people there from unique and fairly unknown cultures and backgrounds- and this is a place where they’re able to share their culture & existence with people all over the world. There are a thousand different viewpoints. Their videos are doing far more for diverse representation than any other platform, I’d argue, as everyone is extremely visible on the app. (‘Their’ as in the creators, not the app itself).

I also have enjoyed coming across new artists on the app. It’s really fun to watch the process they go through, as most art videos deal with the whole creation of a piece. It’s inspiring. I have also come across a painter who’s work I’m in love with, and a woman who makes and sells the CUTEST ceramic mugs, and I need to purchase some stuff from them both.

Now onto the bad:

Unfortunately, the app doesn’t have much in the way of a filtering or warning system. I talked about that tiktok of the kids coming across human remains? That was just on people’s fyp. Just popped up. No warning. No reason for it to still be up. Traumatizing.

You can click on a video and say ‘not interested’ (I do this to literally every video I get where some girl is thirsting after kylo ren 🤮..... like I want the star wars videos just not THOSE videos). However, it doesn’t seem to know exactly why you weren’t interested, because I still get those videos from time to time. There’s no content filter where I can blacklist the kylo ren or any other hashtag.

There’s some very shitty content. There are racist conservatives. Misogynistic teen white boys. Really weird thirst traps. Videos where people lip sync to something with a straight face and tag it with #acting. Harmful body image trends. I thankfully stay very clear of this, but this kind of content makes me worry for the minors on the app. The one’s who don’t have enough of a concept of self yet to realize they don’t need to be able to do the newest pointless beauty trend to be beautiful, to realize it’s ok for them to be gay, to realize how predatory some adults can be, etc etc.

It is extremely easy to come across minors on the app who don’t look like teens. One time I went to a girl’s page and it said she was FIFTEEN. I’m usually good at guessing ages but something about this app messes that up. I wish there was a way to separate people under 18 and adults. Where I don’t have minor’s thirst traps popping up on my fyp. Where pedophiles don’t get a chance to curate that fyp intentionally. If anyone reading this has kids, I highly recommend they make their tiktok private or only viewable to friends.

Just like any site, there are plenty of bigots. Lots of racist comments. Plenty of transphobia. Any hatred you’ve seen elsewhere, of course it exists on tiktok. I have actually zero clue if you can report people & if it works. Most people seem to send a video commentary to their haters or duet a video of a racist pointing out their racism. I’ve heard of creators blocking people, however. I remember a tiktok of a Black woman who’s video somehow went fairly viral in Poland and now she gets a lot of racist comments from this large group of random racisf Polish followers she has and its extremely time consuming to block them all, as there’s no mass block feature.

The rumors about what works with the algorithm and doesn’t abound. I’ve heard well lit videos get more views. Many people suspect they have been shadowbanned for speaking out about current events. TikTok will remove the audio from videos sometimes if they deem it controversial enough. Most of us know they were criticized recently for intentionally keeping Black creator’s videos from being seen (a catalyst for the Blackout, actually). Or you may also recall when it was criticized for widely removing lgbt+ content. Those creators are fighting to be seen the same amount as straight cis white creators are allowed to be seen with no effort.

The effects some trends could have on teen girls. So many of them are already so uncomfortable in their own skin simply because of societal standards, but the absolutely meaningless challenges people come up with on tiktok make it so much worse. One trend was based around whether your finger touched your lips when you put it in your nose. Or if you could get your clasped hands around the back of your legs and over your butt (if they get passed, you have a flat ass, if they get stuck, its big). These completely arbitrary signifiers of the things you need to have in order to be pretty, are far more ridiculous that anything I have seen yet in my life. I worry about little girls taking these ideas to heart. There is a very kind body positive community on the app & I hope more people can find that.

There’s also that thing where they steal your data. Like most apps. But apparently they got a lot more invasive than usual, so I would look into it before making an account; if you want to do that.

I think the apps users can be great & its a pretty intuitive set up. It certainly deserves its popularity solely as a creative form of social media. That being said, its owners are so so insidious & do the worst things. Just like all other social media, its controlled by the worst kind of people. Who can never figure out how to effectively get rid of nazis or keep kids safe from adult content.

These are my less serious gripes with the app:

1) Lip syncing

When people lip sync and don’t do any kind of skit, joke, etc, just look as if they’re saying what someone else said; I hate that. I have to go back and find the original tiktok so I can like it instead. You literally did nothing interesting by ripping off someones audio and moving your lips along to it. So many people on this app are creative and so many others lack any semblance of creativity.

Also people are too easily impressed by lip syncing to kinda-fast songs. I lip synced to like....10 seconds of the devil went down to georgia and two people praised my lip syncing abilities. Like, I can also sing and talk fast, out loud, isn’t that more impressive? more skillful? The fiddle playing in that song is impressive, not the fact I can lip sync ‘the devil went down to georgia, he was lookin for a soul to steal, he was in a bind, cause he was way behind.’ Have you ever seen someone play Johnny’s fiddle solo????? It’s insane!!!

Rather than see someone lip sync to the verse in Stressed Out 2x faster than normal (which is, extremely simple and the song was overplayed and ingrained into our collective consciousness) and go WOW what about someone.....doing the verse out loud. You can litterally just mouth random words and look like you’re saying the right ones. It’s driving me crazy lmao. I’m set to become a God of tiktok because I have a repertoire of fast songs and rap verses memorized. It’s not even an uncommon skill to speak or sing quickly, people literally make rap music for a living! Listen to it maybe.

2) “Acting”

I am begging you to stop making me sit through those horrible POVs. I cannot take another girl not quite fake crying towards the camera as she lip syncs the words from a song that apply to the random situation she decided she was in. I cannot take another boy who thinks its sexy to stare into a camera and smirk in every single situation he creates.

Back to lip syncing, making facial expressions along to words isn’t really acting. Try saying the words out loud perhaps? The inflection you use with your lines is a pretty big part of acting. Like you can lip sync all you want, just stop tagging it with #acting.

3) Comedic timing, or lack thereof

You don’t need the entire intro to sit there looking at the camera waiting until the first line starts and you can lip sync to the part that’s the joke. You could cut off at least 15 seconds. Brevity is the soul of wit.

When your joke involves both reading text on screen and listening to the song for the punchline, if it isn’t done prefectly, its so difficult to follow. I can’t read a paragraph in 5 seconds. Paraphrase.

4) self deprecating artist audio

the audio thats like ‘this wont get views’ ‘I suck’ ‘you probably won’t see this anyway’ LOVE YOURSELF

It sucks when people dont enagage with your art but it sucks worse when your value in yourself and you art is based solely on receiving that validation. Please find a healthy medium.

Also you’re asking for pity, and you don’t want that. You want people who genuinely love your art for what it is.

5) editing videos is really hard how do you make such cool & smooth transitions????

please help me I don’t understand

Finally

here’s my account if you’re interested

[thesffcorner]

February Wrap Up

Despite being the shortest month of the year, I read 7 books and 10 graphic novels, or 17 things in total. It was also another month where I read a lot of diverse genres: I read 10 contemporaries, 4 of which were thriller/mysteries, and 6 of which were romance; 4 sci-fi, 1 speculative historical romance, 1 fantasy romance and 1 historical fantasy. Instead of doing highest to lowest, since I have so many graphic novels and some are part of the same series, I decided to group them by the date read, so without further ado, let’s get into it.

Fence vol. 1-3 by C S Pacat and Joanna the Mad (3, 4, 3 stars)

I wanted to read this series for a while, and I finally binged it this February. Fence follows Nicholas, a young fencer with a complicated past and poor background who comes to Kings Row, a school with the fourth best fencing programs in the country. There, to his shock he finds Senji, a junior champion with Olympic aspirations; and the two can’t stand each-other.

This series is just a whole lot of fun. It’s written like a Western style sports anime/manga, and Joanna the Mad’s artstyle is very reminiscent of manga, with lots of action line, pretty boys and expressive, large eyes. The first volume is a fine set up of Nicholas’ first confrontation with Senj, and arriving at the school, while the second and third volume deal with the qualifications at the school for who will make the fencing team. As Nick is on an athletic scholarship, he has to qualify or he gets kicked out, but like many of these series go, he has some stiff competition, and develops friendships with said competition.

I really enjoyed the dynamic between all the characters, especially Senji and Nicholas, and if you’re a fan of sports anime, cute queer comics, or painfully slow-burn enemies to lovers stories, check this out.

Check, Please! Year 3 by Ngozi Ukazu (4 stars)

The first thing I read in February was the third volume of Check, Please! This was as cute as the previous 2 volumes, as it follows Bittie’s third year in college. What struck out to me upon rereading this specific year, is that it actually has way more angst and conflict than I remember it having; there’s a lot here about Bittie and Jack coming to terms with not just their long distance relationship, but also coming out and finding acceptance within the confines of a major sports league like the NHL. It also deals a lot with Bittie coming to terms with the hockey team changing as Ransom, Holster and Lardo graduate. Overall, a good continuation of the story.

Deadly Class vol 1-2 by Rick Remender and Wes Craig (3, 2, 2 stars)

Deadly Class is a series that if I had started reading when I was in late high school, early college, I know I would have loved. However now, as an adult, I find it grating, pretentious, and far too extreme for no real reason. The story aspects that I liked the most, I’ve also already seen or read in far better works; it doesn’t help that up to volume 3, there are only 2 characters left that I remotely care about, and one of them just got introduced in that volume.

The series follows a group of kids who go to an elite training school for assassins. We mostly follow Marcus, the son of a Nicaraguan expats, who ends up at the school after he meets Saya and a few of the other students during a stick up. Though the first volume started out promising, volumes 2 and 3 kept getting less and less good, and unless something drastically changes in my life, I can’t see myself continuing on with this series.

Contagion by Erin Bowman (3 stars)

This is a sci-fi book set in the near-distant future, and it follows the crew of Odyssey, a research vessel that is sent to Black Quarry to investigate a distress signal. Once there, the crew realizes that something bad has happened, as they find bodies and a potentially deadly thing haunting them; and the mysterious ‘young boy’ the engineer of Black Quarry warns them about is not making matters any easier.

This was a rather mediocre sci-fi, but I still enjoyed it. As it’s part of a duology I will definitely be finishing the story out, but as is it doesn’t do too much with this well-tread premise. Bowman does have a good grasp on action and suspense, but a lot of the character decisions in the novel were akin to ones characters in Blumhouse horrors make, and considering most of them are some form of scientists, that wasn’t an ideal route to take. Still if you enjoy stories about aliens, sentient viruses, isolated space incidents and horror, it’s worth checking out.

Prince Charming by Rachel Hawkins (4 stars)

This is the first book in a series of contemporary romances, all centering around the fiction crown family of Scotland. In this first novel we follow Daisy, the younger sister of Eli, who gets engaged to Andrew, the Crown Prince of Scotland. After an incident in a parking lot with her ex, Daisy gets blackmailed into spending the summer in Scotland with her sister and fiance, and get acquainted with the royal family; cue shenanigans, romance and lots of sisterly yelling.

I was surprised at how much I enjoyed this book; it was very funny and entertaining, and I haven’t related to a characters quite like I did to Daisy, since Princess Mia Thermopolis. While there are some tropes these stories tend to have, Hawkins manages to avoid a lot of the cliches, and she actually has some really good commentary on the economy of the royal family, the outdated and outright sexist traditions, the close-mindedness, and the prejudice that both sides are steeped in at the start. I found the romance very cute, the shenanigans were funny and entertaining, and I will definitely be reading the sequel.

Heart of Gold Part 1 by Eli and Viv (4 stars)

This is an webcomic that I stumbled onto by complete accident, but it blew me away. It follows Ionel, a concert pianist who is slowly losing his sight, and Kasper a priest with the power to heal people. Ionel moves to the small town and starts attending mass, in hopes that Kasper will heal him, but every time it gets close to, or his turn, Kasper refuses to help him. Through his attendance, the two become close, with Kasper seeming to have a crisis of faith, all while people from the town start dying; and they might be connected to Kasper.

This comic drew me in almost immediately. The art is absolutely beautiful, and it’s hard to believe that this is a free web comic. The story too is very mature and interesting; it deals a lot with religion, faith, and sacrifice, and the slow build of Isonel and Kaspar’s relationship feels very natural. I can’t wait for Act 2, and I’m really hoping the answers to what is happening in the town deliver on the build up we’ve gotten so far.

Truly Devious by Maureen Johnson (3 stars)

I heard about this book a lot when it came out, and I decided to check it out, since it’s a mystery following a girl who wants to become an FBI agent, coming to Ellingham Academy, a Montessori type private school, to solve an old cold case; that of the founder, Albert Ellingham’s daughter’s kidnapping.

I won’t lie; this book did not live up to the hype for me, though it was entertaining. I have a much longer and more detailed review of why, but it mostly boiled down to a few things. First, I didn’t like that it ends of a cliffhanger, and we get no answers; this is a bit odd for a mystery, especially a series which has more than two books. Second, I thought the way the past and present mystery connected wasn’t very well done, and I kept losing interest in the past, because of the way the book was written. And finally, I found some of the writing dry and lacking in proper atmosphere.

However, I still enjoyed the story, and the main character of Steve, and I will probably read the sequel, since I still want to know what happens.

S.T.A.G.S. by M A Bennet (3 stars)

S.T.A.G.S. is a British thriller, set in Saint Aidan the Great’s School or STAGS, a private boarding school with a long tradition. When new student Greer gets invited to a weekend of huntin, shootin, fishin at the estate of the leader of the most popular clique in the school, Henry, she accepts, not knowing what waits for her; and what does is a nightmare that might turn deadly, where the hunting, shooting, and fishing, might be a little too real and dangerous.  

I really enjoyed this thriller; I thought it was entertaining, fast paced and had a plot that kept me invested to the end. I also weirdly enjoyed the subtle romance between two of the characters, which isn’t often the case.

However, this book isn’t without it’s problems. The ending is a bit predictable, and having seen the Riot Club, I knew what I was getting into, in terms of what the weekend actually entailed. I also found that the book lacked a lot of tension, because we found out early on who lives through it. However, it was still enjoyable, and if you like these types of thrillers set in boarding schools or private estates, I think you will enjoy this one.

Undead Girl Gang by Lily Anderson (4 stars)

Like Prince Charming before, I was genuinely surprised at how much I ended up enjoying this book, because when I started it, I was really caught off guard by the humor. However, once I got used to it, this became one of the funniest things I read this month.

Undead Girl Gang is a horror/comedy that follows Mila, a Mexican-American teenager who practices Wicca. After her best friend Riley supposedly commits suicide, just a week after a double suicide of two of her other classmates, Mila decides to perform a spell and bring Riley back; but instead she brings all three of the girls back. The problem? They can’t stand each-other, and if they don’t want to be walking zombies, they need to stay within a 100 steps of Mila.

This book was hilarious and very dark. I really enjoyed all the relationships between the girls, and I found the look at grief very well done and moving. The ending was climactic, and the conclusions Mila comes to worked well for me; if you enjoyed the Craft, Mean Girls or Heathers, check this out, you will probably like it.

Gilded Wolves by Roshani Chokshi (5 stars)

This was by far my favorite thing I read this month. I struggled writing a review for it, because I just didn’t know how to talk about it without just relegating to spoilers and gushing about the characters and the puzzles. It’s a book that follows a group of thieves, who steal magical artifacts, each with their own motivations and goals. When they steal a magical Chinese compass, the discover that it leads them to a Horus Eye; an artifact so powerful it can show them the way to the fabled Fragment of Babel.

It’s the Mummy, mixed with National Treasure, mixed with Ocean’s 11. It’s fun heist story, set during the Exposition Universelle, and if you are like me at all and like any of these things, you will love this book.

Sleepless vol. 1 by Sarah Vaughan (4 stars)

This was probably my favorite of the graphic novels I read; it’s a fantasy that follows Poppy, the illegitimate daughter of a King, and a famous star reader. When her father the King dies, Poppy is forced to navigate court life, as his brother takes the throne, but things become increasingly hard as several assassination attempts are made, and her Sleepless protector Cyrenic starts drifting.

There’s just something about this series that ticks all my boxes. The art is absolutely gorgeous, the story is interesting and a bit different from the usual fantasy I read, and the Sleepless vow is a very unique type of magic. To top it off, I really like the two leads, Poppy and Cyrenic and I’m curious to see what turn the story will take after the ending we get in issue 6.

Motor Crush vol. 1 by Brenden Fletcher (3 stars)

I’ve been meaning to start this series for a while, and I finally did in February, and man was it a great time to do this, fresh after seeing Battle Angel Alita.

This follows Domino, a bike racer, who is trying to make it big and qualify for the world circuit. However, to survive she needs Crash, an illegal substance that is used to fuel the bikes in this universe, but she needs to inhale it. Through the first volume we find out a bit about her mysterious past, her ex-girlfriend Lola, and a man who seems to either want to help her or kill her; all while she races to win the qualifications and the Crash.

This series was a fun, fast paced ride, but it’s not without its problems. The art is beautiful, but the story needs some more polishing; there’s too many plot threads and not enough time to develop them. I can’t imagine how things will resolve in the next volume after that climax, but I will definitely be continuing it; the world was gripping enough to have me enjoy it, and Domino was a character I definitely rooted for.

Umbrella Academy vol. 1 by Gerard Way (3 stars)

Since the show is all anyone talks about, I decided to finally start this series and boy is it cooky. We follow the Umbrella Academy, a group of 7, who were adopted by a crazy millionaire savant Reginald Hargreeves, after being born in a spontaneous event all over the world where 48 mothers gave birth. Hargreeves trains the kids to stop the apocalypse, and now 10 years after his death brings 6 of the 7 back to his house, unaware that the apocalypse is here; and it’s a direct consequence of their reunification.

There is a lot of good and a lot of weird in this series. The characters have glimpses of interesting personalities and the idea of 7 kids being raised from birth to be superheroes by a man who is a British version of Ra’s al Ghul is interesting. But unfortunately the series doesn’t fully explore this, and the ending is really abrupt. The humor is quirky, and sometimes it works, but more often it makes the tone weirdly uneven, as we swing from graphic, albeit cartoon violence to slapstick. I think the show does a much better job with the tone, and while this first volume gets a lot right, it’s by no means perfect.

Sadie by Courtney Summers (4 stars) 

This was by far the hardest book I’ve read in a long time. It’s a mystery that follows Sadie, a girl who disappears after her younger sister is brutally assaulted and murdered; and West McCray, a podcast host who is retracing her steps, trying to find her. It’s a book about grief, assault, pedophilia, violence and the lies we tell ourselves so we don’t have to think about what happens to girls in this world, and it’s dower, dreary and oh so real. It made me feel things I don’t normally do when I read, and if you can stomach the content, I recommend it. If you can, get the audiobook; it’s a full cast and the podcast bits are done like a real podcast, which makes the story feel that much more immersive.   

The Disasters by M K England (5 stars)

I needed something light and fun after the last two things I read in February, and this was the perfect way to end my month. This was my favorite book I read so far, maybe even more than the Gilded Wolves. It’s a sci-fi that follows a group of 4 rejects from Space Academy who have to work together to survive a terrorist attack, and prevent another one from happening. It’s fast paced, incredibly entertaining, and I fell in love with all the characters.

I absolutely cannot wait for whatever else M K England publishes, and I loved this to pieces.  

[adambstingus]

Joanne Unveils Lady Gagas Shocking Next Act: Being Normal

Lady Gaga sobers up, strips down, and dabbles in some country twang for new album ‘Joanne.’ Gone are the days of meat dresses and club bangers. The question is if we’ll miss them.”>

Lady Gagas new album is easy to like and hard to love.

Thats not because its not ambitious, or good, or catchy. Returning to the pop music scene with the same stripped down production that reinvented and reincarnated the singer following the disappointment of the noisy Artpop, Joanne features tracks that are all of those things. 

But when youre Lady Gaga, the fact that youre, well, Lady Gaga is both your blessing and your curse. Your very unapologetic Lady Gaga-ness is out there for all to dissect. You dont set out to satisfy, and, in turn, you often dont satisfy.

Being polarizing is the calling card of Gagas entire career. Her early singles and blockbuster albums capitalized on that.

The weirdos had gone mainstream and now had anthems worthy of both the shadows and the sun. Just Dance, Poker Face, and Bad Romance work as well in the dark of a beer-soaked dance floor as they do blaring from the car radio on a summer road trip.

Her wardrobe and aesthetic were to be either embraced or apologized foralternately a beacon for those finally ready to let their freak flags fly, or a point of exhaustion for others who just wished to enjoy her songs without the distraction.

Lady Gaga was, in essence, a lot, and she carried that muchness with her like a sense of duty, both in her music and her persona. Meat dresses begat alternate male personas. Meticulously produced club bangers gave way to cacophonous pretention. The Fame Monster gave birth to Artpop.

The act of being Lady Gaga had drowned out the brilliant music, and the importance of Lady Gaga had somehow muddied the simple pleasure of being her fan: It was her authenticity, in all of its strangeness and lofty artistic pursuit, that spoke to us. That seemed to have gone missing.

Joanne, with standout tracks like Million Reasons, Diamond Heart, and title song Joanne, is a bit of an overcorrection to a few years of that trajectory. Artpop was Gagas least successful album to date2.5 million sales versus The Fame Monsters 15 millionand its schizophrenic tracklist, for all the pre-release talk of Gagas vision, lacked any identity or even hits.

Intentional or not, the ensuing years after Artpop served as career rehab, in which she took it upon herself to re-convince us of her talents and also her relatability. Performances at two consecutive Oscar ceremonies and a Super Bowl rendition of the National Anthem for the ages triumphed. An embrace of Old Hollywood glamour on red carpets stunned, and a memorable turn on Ryan Murphys American Horror Story proved that her pop-star-tries-acting instincts were cannier than Madonna or Britney Spears before her. 

And while Gaga certainly hadnt gone away, it had been three years since a down-and-out, get-thee-to-a-club pop track had come from Mother Monster. It arrived via Perfect Illusion, the stripped down disco-rock anthem Gaga debuted in September. The response was tepid because, on the scale of one to Gaga, the track was tepid, too. 

It was her Pat Benatar moment, with raw, unsweetened vocals un-self-consciously blaring over a straightforward guitar-driven production, climaxing with an old school, blow-your-hair-back key change. Some fans missed the bells and whistles; others loved the scaled back nature of the song, a showcase for Gagas strong voice, even if the single failed to light up the charts.

It turns out, as Joanne illustrates with its arrival this week, that Perfect Illusion was a warning shot to fans. Named after Gagas late aunt, after whom Stefani Germanotta takes her middle name, the album marks an evolved, more intimate performer more inclined to lay bare heartache, pain, resilience, and triumph than to mask it in electro-beats and pulsing.

Its not that Gagas material hasnt always been personal. In fact, a hallmark of the singers popularity has been the idea that performance and flamboyance can be personal and real, if showboating is what it takes to reveal it. Yet here we meet Gaga outside the club, or maybe the dive bar. She seems tired of having to yell the story at you over the din of the dancehall. But she still has one to tell.

Perhaps then its no surprise that country music is a heavy influence on Joanne, with its natural lean toward storytelling. Joanne channels the genre in all forms, too, be it a Carrie Underwood-approved piano ballad (Million Reasons), the moodier Johnny Cash-tinged Sinners Prayer, or the more defiant, radio-friendly hoedown that is A-Yo. 

Theres literally a song called John Wayne.

The material suits Gagas voice well, and abides by her lyrical mandate to reach out to listeners who may share some of her strife, whether its singing about loss in Joanne or even surviving rape in Diamond Heart. And Joanne certainly isnt a slave to the trope of country music despair. The reason the album feels familiar is its insistence on, as Gaga has always done, reaching from pain to sheer exuberance. 

The latter is certainly true on the aforementioned Diamond Heart, which for the sobering nature of its content, is a gutsy anthem aiming for the arena nosebleedsand with all the power to reach it. Collaborator Josh Homme, of Queens of the Stone Age, certainly leaves his mark on that, in the same way that Mark Ronson lends Perfect Illusion its aggressive energy. Dancin in Circles is the most stereotypically Gaga pop track, which is why, for all of its infectiousness, its among Joannes least adventurous and therefore least exciting efforts.

Get The Beast In Your Inbox!

Daily DigestStart and finish your day with the top stories from The Daily Beast.

Cheat SheetA speedy, smart summary of all the news you need to know (and nothing you don’t).

By clicking “Subscribe,��� you agree to have read the TermsofUse and PrivacyPolicy

Subscribe

Thank You!

You are now subscribed to the Daily Digest and Cheat Sheet. We will not share your email with anyone for any reason

The rest of Joanne is simply pleasant. Come to Mama will titillate anyone clamoring for Lady Gaga to hit Broadway, Angel Down is a solid torch song to wind down the album, and Hey Girl, her piano-backed duet with Florence Welch, is as lovely as youd expect from the phrase piano-backed duet with Florence Welch.

Our first impression of Joanne meets Gaga on the albums cover, sans heavy makeup and looking naturally beautiful wearing nothing crazier than a wide-brimmed pink hat. The music that follows hews close to the veritably all-American girl on that cover, with not a false note played or sung across the entire record.

But thats when we realize what played a large part in our attraction to Lady Gaga, the blessedly ludicrous pop star thats dominated the last decade: a little bit of falsity. The crazy makeup, insane wardrobe, over-the-top music and even more over-the-top performance. We clung to it because it let us pretend we were maybe a touch wilder, weirder, or more interesting than we knew in our hearts we were.

Through her authenticity, Lady Gaga was our escapism. Joanne is confronting us with a realer Stefani Germanotta, and were forced to sober ourselves up, too.

Gaga hosts Saturday Night Live this weekend, and in February will headline the Super Bowl Halftime Show. Both seem to be natural fits for this next stage of Gagas career. Shes proven well-suited for the intimacy of a SNL performance but also shown, within Joanne, that shes a rightful heir to the throne of the stadium rocker.

Its a new Lady Gaga. Its a good Lady Gaga. But its also one thats going to take us some getting used to.

from All Of Beer http://allofbeer.com/2017/09/18/joanne-unveils-lady-gagas-shocking-next-act-being-normal/ from All of Beer https://allofbeercom.tumblr.com/post/165465333987

[allofbeercom]

Joanne Unveils Lady Gagas Shocking Next Act: Being Normal

Lady Gaga sobers up, strips down, and dabbles in some country twang for new album ‘Joanne.’ Gone are the days of meat dresses and club bangers. The question is if we’ll miss them.”>

Lady Gagas new album is easy to like and hard to love.

Thats not because its not ambitious, or good, or catchy. Returning to the pop music scene with the same stripped down production that reinvented and reincarnated the singer following the disappointment of the noisy Artpop, Joanne features tracks that are all of those things. 

But when youre Lady Gaga, the fact that youre, well, Lady Gaga is both your blessing and your curse. Your very unapologetic Lady Gaga-ness is out there for all to dissect. You dont set out to satisfy, and, in turn, you often dont satisfy.

Being polarizing is the calling card of Gagas entire career. Her early singles and blockbuster albums capitalized on that.

The weirdos had gone mainstream and now had anthems worthy of both the shadows and the sun. Just Dance, Poker Face, and Bad Romance work as well in the dark of a beer-soaked dance floor as they do blaring from the car radio on a summer road trip.

Her wardrobe and aesthetic were to be either embraced or apologized foralternately a beacon for those finally ready to let their freak flags fly, or a point of exhaustion for others who just wished to enjoy her songs without the distraction.

Lady Gaga was, in essence, a lot, and she carried that muchness with her like a sense of duty, both in her music and her persona. Meat dresses begat alternate male personas. Meticulously produced club bangers gave way to cacophonous pretention. The Fame Monster gave birth to Artpop.

The act of being Lady Gaga had drowned out the brilliant music, and the importance of Lady Gaga had somehow muddied the simple pleasure of being her fan: It was her authenticity, in all of its strangeness and lofty artistic pursuit, that spoke to us. That seemed to have gone missing.

Joanne, with standout tracks like Million Reasons, Diamond Heart, and title song Joanne, is a bit of an overcorrection to a few years of that trajectory. Artpop was Gagas least successful album to date2.5 million sales versus The Fame Monsters 15 millionand its schizophrenic tracklist, for all the pre-release talk of Gagas vision, lacked any identity or even hits.

Intentional or not, the ensuing years after Artpop served as career rehab, in which she took it upon herself to re-convince us of her talents and also her relatability. Performances at two consecutive Oscar ceremonies and a Super Bowl rendition of the National Anthem for the ages triumphed. An embrace of Old Hollywood glamour on red carpets stunned, and a memorable turn on Ryan Murphys American Horror Story proved that her pop-star-tries-acting instincts were cannier than Madonna or Britney Spears before her. 

And while Gaga certainly hadnt gone away, it had been three years since a down-and-out, get-thee-to-a-club pop track had come from Mother Monster. It arrived via Perfect Illusion, the stripped down disco-rock anthem Gaga debuted in September. The response was tepid because, on the scale of one to Gaga, the track was tepid, too. 

It was her Pat Benatar moment, with raw, unsweetened vocals un-self-consciously blaring over a straightforward guitar-driven production, climaxing with an old school, blow-your-hair-back key change. Some fans missed the bells and whistles; others loved the scaled back nature of the song, a showcase for Gagas strong voice, even if the single failed to light up the charts.

It turns out, as Joanne illustrates with its arrival this week, that Perfect Illusion was a warning shot to fans. Named after Gagas late aunt, after whom Stefani Germanotta takes her middle name, the album marks an evolved, more intimate performer more inclined to lay bare heartache, pain, resilience, and triumph than to mask it in electro-beats and pulsing.

Its not that Gagas material hasnt always been personal. In fact, a hallmark of the singers popularity has been the idea that performance and flamboyance can be personal and real, if showboating is what it takes to reveal it. Yet here we meet Gaga outside the club, or maybe the dive bar. She seems tired of having to yell the story at you over the din of the dancehall. But she still has one to tell.

Perhaps then its no surprise that country music is a heavy influence on Joanne, with its natural lean toward storytelling. Joanne channels the genre in all forms, too, be it a Carrie Underwood-approved piano ballad (Million Reasons), the moodier Johnny Cash-tinged Sinners Prayer, or the more defiant, radio-friendly hoedown that is A-Yo. 

Theres literally a song called John Wayne.

The material suits Gagas voice well, and abides by her lyrical mandate to reach out to listeners who may share some of her strife, whether its singing about loss in Joanne or even surviving rape in Diamond Heart. And Joanne certainly isnt a slave to the trope of country music despair. The reason the album feels familiar is its insistence on, as Gaga has always done, reaching from pain to sheer exuberance. 

The latter is certainly true on the aforementioned Diamond Heart, which for the sobering nature of its content, is a gutsy anthem aiming for the arena nosebleedsand with all the power to reach it. Collaborator Josh Homme, of Queens of the Stone Age, certainly leaves his mark on that, in the same way that Mark Ronson lends Perfect Illusion its aggressive energy. Dancin in Circles is the most stereotypically Gaga pop track, which is why, for all of its infectiousness, its among Joannes least adventurous and therefore least exciting efforts.

Get The Beast In Your Inbox!

Daily DigestStart and finish your day with the top stories from The Daily Beast.

Cheat SheetA speedy, smart summary of all the news you need to know (and nothing you don't).

By clicking "Subscribe," you agree to have read the TermsofUse and PrivacyPolicy

Subscribe

Thank You!

You are now subscribed to the Daily Digest and Cheat Sheet. We will not share your email with anyone for any reason

The rest of Joanne is simply pleasant. Come to Mama will titillate anyone clamoring for Lady Gaga to hit Broadway, Angel Down is a solid torch song to wind down the album, and Hey Girl, her piano-backed duet with Florence Welch, is as lovely as youd expect from the phrase piano-backed duet with Florence Welch.

Our first impression of Joanne meets Gaga on the albums cover, sans heavy makeup and looking naturally beautiful wearing nothing crazier than a wide-brimmed pink hat. The music that follows hews close to the veritably all-American girl on that cover, with not a false note played or sung across the entire record.

But thats when we realize what played a large part in our attraction to Lady Gaga, the blessedly ludicrous pop star thats dominated the last decade: a little bit of falsity. The crazy makeup, insane wardrobe, over-the-top music and even more over-the-top performance. We clung to it because it let us pretend we were maybe a touch wilder, weirder, or more interesting than we knew in our hearts we were.

Through her authenticity, Lady Gaga was our escapism. Joanne is confronting us with a realer Stefani Germanotta, and were forced to sober ourselves up, too.

Gaga hosts Saturday Night Live this weekend, and in February will headline the Super Bowl Halftime Show. Both seem to be natural fits for this next stage of Gagas career. Shes proven well-suited for the intimacy of a SNL performance but also shown, within Joanne, that shes a rightful heir to the throne of the stadium rocker.

Its a new Lady Gaga. Its a good Lady Gaga. But its also one thats going to take us some getting used to.

from All Of Beer http://allofbeer.com/2017/09/18/joanne-unveils-lady-gagas-shocking-next-act-being-normal/

[samanthasroberts]

Joanne Unveils Lady Gagas Shocking Next Act: Being Normal

Lady Gaga sobers up, strips down, and dabbles in some country twang for new album ‘Joanne.’ Gone are the days of meat dresses and club bangers. The question is if we’ll miss them.”>

Lady Gagas new album is easy to like and hard to love.

Thats not because its not ambitious, or good, or catchy. Returning to the pop music scene with the same stripped down production that reinvented and reincarnated the singer following the disappointment of the noisy Artpop, Joanne features tracks that are all of those things. 

But when youre Lady Gaga, the fact that youre, well, Lady Gaga is both your blessing and your curse. Your very unapologetic Lady Gaga-ness is out there for all to dissect. You dont set out to satisfy, and, in turn, you often dont satisfy.

Being polarizing is the calling card of Gagas entire career. Her early singles and blockbuster albums capitalized on that.

The weirdos had gone mainstream and now had anthems worthy of both the shadows and the sun. Just Dance, Poker Face, and Bad Romance work as well in the dark of a beer-soaked dance floor as they do blaring from the car radio on a summer road trip.

Her wardrobe and aesthetic were to be either embraced or apologized foralternately a beacon for those finally ready to let their freak flags fly, or a point of exhaustion for others who just wished to enjoy her songs without the distraction.

Lady Gaga was, in essence, a lot, and she carried that muchness with her like a sense of duty, both in her music and her persona. Meat dresses begat alternate male personas. Meticulously produced club bangers gave way to cacophonous pretention. The Fame Monster gave birth to Artpop.

The act of being Lady Gaga had drowned out the brilliant music, and the importance of Lady Gaga had somehow muddied the simple pleasure of being her fan: It was her authenticity, in all of its strangeness and lofty artistic pursuit, that spoke to us. That seemed to have gone missing.

Joanne, with standout tracks like Million Reasons, Diamond Heart, and title song Joanne, is a bit of an overcorrection to a few years of that trajectory. Artpop was Gagas least successful album to date2.5 million sales versus The Fame Monsters 15 millionand its schizophrenic tracklist, for all the pre-release talk of Gagas vision, lacked any identity or even hits.

Intentional or not, the ensuing years after Artpop served as career rehab, in which she took it upon herself to re-convince us of her talents and also her relatability. Performances at two consecutive Oscar ceremonies and a Super Bowl rendition of the National Anthem for the ages triumphed. An embrace of Old Hollywood glamour on red carpets stunned, and a memorable turn on Ryan Murphys American Horror Story proved that her pop-star-tries-acting instincts were cannier than Madonna or Britney Spears before her. 

And while Gaga certainly hadnt gone away, it had been three years since a down-and-out, get-thee-to-a-club pop track had come from Mother Monster. It arrived via Perfect Illusion, the stripped down disco-rock anthem Gaga debuted in September. The response was tepid because, on the scale of one to Gaga, the track was tepid, too. 

It was her Pat Benatar moment, with raw, unsweetened vocals un-self-consciously blaring over a straightforward guitar-driven production, climaxing with an old school, blow-your-hair-back key change. Some fans missed the bells and whistles; others loved the scaled back nature of the song, a showcase for Gagas strong voice, even if the single failed to light up the charts.

It turns out, as Joanne illustrates with its arrival this week, that Perfect Illusion was a warning shot to fans. Named after Gagas late aunt, after whom Stefani Germanotta takes her middle name, the album marks an evolved, more intimate performer more inclined to lay bare heartache, pain, resilience, and triumph than to mask it in electro-beats and pulsing.

Its not that Gagas material hasnt always been personal. In fact, a hallmark of the singers popularity has been the idea that performance and flamboyance can be personal and real, if showboating is what it takes to reveal it. Yet here we meet Gaga outside the club, or maybe the dive bar. She seems tired of having to yell the story at you over the din of the dancehall. But she still has one to tell.

Perhaps then its no surprise that country music is a heavy influence on Joanne, with its natural lean toward storytelling. Joanne channels the genre in all forms, too, be it a Carrie Underwood-approved piano ballad (Million Reasons), the moodier Johnny Cash-tinged Sinners Prayer, or the more defiant, radio-friendly hoedown that is A-Yo. 

Theres literally a song called John Wayne.

The material suits Gagas voice well, and abides by her lyrical mandate to reach out to listeners who may share some of her strife, whether its singing about loss in Joanne or even surviving rape in Diamond Heart. And Joanne certainly isnt a slave to the trope of country music despair. The reason the album feels familiar is its insistence on, as Gaga has always done, reaching from pain to sheer exuberance. 

The latter is certainly true on the aforementioned Diamond Heart, which for the sobering nature of its content, is a gutsy anthem aiming for the arena nosebleedsand with all the power to reach it. Collaborator Josh Homme, of Queens of the Stone Age, certainly leaves his mark on that, in the same way that Mark Ronson lends Perfect Illusion its aggressive energy. Dancin in Circles is the most stereotypically Gaga pop track, which is why, for all of its infectiousness, its among Joannes least adventurous and therefore least exciting efforts.

Get The Beast In Your Inbox!

Daily DigestStart and finish your day with the top stories from The Daily Beast.

Cheat SheetA speedy, smart summary of all the news you need to know (and nothing you don't).

By clicking "Subscribe," you agree to have read the TermsofUse and PrivacyPolicy

Subscribe

Thank You!

You are now subscribed to the Daily Digest and Cheat Sheet. We will not share your email with anyone for any reason

The rest of Joanne is simply pleasant. Come to Mama will titillate anyone clamoring for Lady Gaga to hit Broadway, Angel Down is a solid torch song to wind down the album, and Hey Girl, her piano-backed duet with Florence Welch, is as lovely as youd expect from the phrase piano-backed duet with Florence Welch.

Our first impression of Joanne meets Gaga on the albums cover, sans heavy makeup and looking naturally beautiful wearing nothing crazier than a wide-brimmed pink hat. The music that follows hews close to the veritably all-American girl on that cover, with not a false note played or sung across the entire record.

But thats when we realize what played a large part in our attraction to Lady Gaga, the blessedly ludicrous pop star thats dominated the last decade: a little bit of falsity. The crazy makeup, insane wardrobe, over-the-top music and even more over-the-top performance. We clung to it because it let us pretend we were maybe a touch wilder, weirder, or more interesting than we knew in our hearts we were.

Through her authenticity, Lady Gaga was our escapism. Joanne is confronting us with a realer Stefani Germanotta, and were forced to sober ourselves up, too.

Gaga hosts Saturday Night Live this weekend, and in February will headline the Super Bowl Halftime Show. Both seem to be natural fits for this next stage of Gagas career. Shes proven well-suited for the intimacy of a SNL performance but also shown, within Joanne, that shes a rightful heir to the throne of the stadium rocker.

Its a new Lady Gaga. Its a good Lady Gaga. But its also one thats going to take us some getting used to.

Source: http://allofbeer.com/2017/09/18/joanne-unveils-lady-gagas-shocking-next-act-being-normal/

from All of Beer https://allofbeer.wordpress.com/2017/09/18/joanne-unveils-lady-gagas-shocking-next-act-being-normal/