Archives for posts with tag: singer

Katy_Perry_Part_of_Me

MTV Films’ latest project in the controlled demolition of civilization follows popular candy-coated nut Katy Perry on her California Dreams Tour of 2011, “a year filled with tremendous success and personal heartbreak” for the twinkly star. Along with seemingly interminable adulation from friends and toadies, the viewer is treated to Perry’s bouts of depression as her long-distance relationship with Russell Brand disintegrates. Even so, to be granted entry into the world of Katy Perry is to be plunged into a dazzling phantasmagoria of lollipops, hearts, balloons, confetti, and sexy, garish costumes.

“I feel a real connection to fairy tales, and I think that in some ways I live in a fairytale,” the singer confides, and one quickly sees what she means when confronted with so many sissy prancers ducking, gliding, and kicking around the stage in their candy cane pants. Even freaky Russell Brand, when he meets his lady backstage, looks embarrassed to be seen mixing with this lot of dubious company. Too much hagiography begins to wear on the viewer’s patience, and Perry minus the whorish makeup and the wardrobe is actually rather an uninteresting individual; but Katy Perry: Part of Me does feature some impressive concert cinematography and grotesque visuals aplenty.

2 out of 5 stars. Ideological Content Analysis indicates that Katy Perry: Part of Me is:

10. Pro-miscegenation. Interracial couplings can be glimpsed among her backup dancers.

9. Corporate. Brand sends Katy a text message with a picture of a McDonald’s restaurant and suggests they name their firstborn Ronald.

8. Anti-Christian. Katy’s conservative Pentecostal upbringing, which forbade her to watch The Smurfs or eat Lucky Charms, definitely started to cramp her style as she discovered her inner freak. “I felt like I was never even allowed to even think for myself, and having any kind of feminist live-on-your-own independent spirit is just, ugh, the devil!” (cf. no. 5) Today Perry’s beliefs appear to drift more toward permissive New Age nebulousness: “I really do believe in God[, even if I] probably don’t believe in all the same details that my mom believes, but I have a spiritual relationship with God, and it’s one-on-one, and it’s continually evolving.”

7. Pro-drug. Katy be “sippin’ on gin and juice”.

6. Family-ambivalent. Perry is close with her grandmother, and her parents are generally supportive despite not approving of all of their daughter’s output. She is unprepared, however, to have children of her own.

5. Underachievingly feminist. “I kinda want to be a leader, but, you know, then there’s all those responsibilities.” Still, California girls like Katy are naturally “fine”, “fresh”, and “fierce”.

4. Multiculturalist. The film goes to great lengths to portray Katymania as a messianic and postracial phenomenon and opens with a series of webcam effusions from teen admirers of various races and orientations who say that Perry has shown them that “being weird is okay.”

3. Pro-gay. Perry’s breakout hit, “I Kissed a Girl”, occasions a lesbian smooch from View host Whoopi Goldberg. Among the fans who receive screen time are some Japanese drag queens.

2. Pro-wigger. One must, one supposes, muster something resembling admiration for a songwriter who rhymes “peacock” with “beyatch”. “West coast, represent!”

1. Pro-slut. In addition to her salacious booty-shakery onstage, Perry’s lyrics tend to be of the tawdry “let you put your hands on me in my skintight jeans” and “I wanna see your peacock” variety.

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Street Music

Street Music (1981) ****1/2

A bittersweet variation on a staple 80s genre – the underdog story in which a motley assortment of misfits band together to save the [insert cause of choice: summer camp, dance club, etc.] – Street Music serves as the perfect vehicle for sprightly, diminutive cutie Elizabeth Guttman (alias Elizabeth Daily), whose exotic looks viewers may recognize from such classics of the decade as Valley Girl (1983) and Pee-wee’s Big Adventure (1985).

Guttman plays Sadie Delaware, a busker who makes her living giving spirited renditions of old-timey jazz songs. Yet to get her big break in show business, Sadie lives with her boyfriend Eddie (Larry Breeding) in the ramshackle Victory Hotel in San Francisco’s Tenderloin, a colorful slum full of alcoholics, eccentric old codgers, and prostitutes. Unfortunately for the hotel’s residents, it is scheduled to be demolished, and all of its occupants are expected to vacate within a matter of days. Monroe (D’Alan Moss), a black Marxist who works at the Victory, hopes to mobilize the elderly tenants to picket and fight the eviction, but Sadie just wants to get out of the ghetto and make a better life for herself.

Street Music taps into common liberal fears of the 1980s: loss of individuality, ideals, and character; the sacrifice of the little guy on the altar of rising consolidation, commercialism, corporate power, and conformity. The tenants of the Victory – old Jews, blacks, Hispanics, crazies, food stamp recipients, and bohemian artists – represent the liberal dream of harmonious racial diversity in a setting of noble squalor and hearty communitarian grime. A modest movie about little heroisms, full of graffiti, garbage, and heart, Street Music will appeal to admirers of truly independent cinema. Sticklers for craft, however, are warned that, true to its subject matter, Street Music‘s boom operator seems to have been a drunkard, with the microphone dipping into view in more than one of the scenes.

4.5 out of 5 stars. Recommended.

Rooftops

Rooftops (1989) ***1/2

West Side Story director Robert Wise returns to the dance-oriented inner-city fantasy in Rooftops, the story of homeless heartthrob T (Jason Gedrick), who lives in a Lower East Side water tower “like a bat or a rat or something”. T falls for nappy-headed Puerto Rican treat Elana (Troy Beyer), unaware that she works for her cousin Lobo (Eddie Velez), the neighborhood crack cocaine kingpin. Lobo is making life difficult for everyone; and when one of his henchmen burns T out of his tower, Lobo’s days as the local thug-in-chief are numbered.

A prime document of the War on Drugs and its naive “Just Say No” ethos, Rooftops packs a vibrant blast of nostalgia for 80s freaks. Set in a fairy tale barrio where bright, resilient youths settle their differences with beat-driven martial dance showdowns, the movie is splashed with graffiti and peppered with quaint slum dialogue like “You dissin’ me, homeboy” and “don’t bust on my crib”.

Other sights and sounds of sentimental interest include the expected 80s fashions (Batman tank top, anyone?); funky music by the Eurythmics, Etta James, and others; and several shots of the World Trade Center looming large and doomed in the distance. Rooftops is elegantly photographed and entertainingly choreographed, but will be most likely to please admirers of period kitsch along the colorful lines of Body Rock (1984), Delivery Boys (1985), Band of the Hand (1986), and Lambada (1990). One only wishes Rooftops had more dancing and less sanctimonious anti-drug messaging.

3.5 out of 5 stars.

Rooftops preview

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