With subtle echoes of that "We ain't ever gettin' older" sentiment
Julianne Glass' wistful birthday party track 'Seventeen' will make you long for your youth, again.
When you're 17-going-on-18, the world is about to open up for you; you can buy cigarettes and lotto tickets (but still not beer) The world becomes your oyster and you can do almost anything you want.
The music video for 'Seventeen' opens at Glass' 18th birthday party, complete with a pink cake and a bunch of friends standing around celebrating. But for Glass, it's a somber affair. As she blows out the candles on her cake, she tells us her birthday wish: she wants to be 17 again (you're welcome, Zac Efron).
The track (and the accompanying video) are an adventure, going from somber and contemplative to fun and free, and back again. Glass' longing for simpler times echo sentiments that everyone goes through as they get older, and the 19 year old singer-songwriter from LA seems wise-beyond-her-years in that respect.
From the press release:
LA born and raised, Julianne Glass is changing pop music one song at a time. The nineteen year old singer-songwriter-pianist has been playing piano since she could walk. Julianne has been a curator of sound since her early days, listening to The Beatles, Ben Folds, Elliott Smith and Stevie Wonder. At the age of 14, tragedy struck when Julianne lost both her father and her sister. The songstress turned to writing her own music as a coping mechanism. The tragedy helped inspire Julianne to write from her heart.
Julianne's debut Transparent EP (out now) was recorded at the legendary EastWest Studios in Hollywood, where Frank Sinatra, The Beach Boys, Frank Ocean and Ariana Grande have also laid down legendary albums. Transparent is a look into the heart and soul of Julianne - as she likes to say, "what you see is what you get." The EP is full of touching melodies dispersed with textured pop songs, like her debut single "Seventeen."
Follow Julianne Glass on Facebook, Instagram, and Twitter, listen to the whole Transparent EP (out now!) and, of course, stay tuned to Popdust for more awesome music.
The classic He-Man meme video stands the test of time as an iconic example of queer-coded art.
In December of 2005, Brokeback Mountain shifted queer-coded cinema into the mainstream.
Prior to 2005, "New Queer Cinema"––a term coined by film scholar B. Ruby Rich in Sight & Sound to define the queer-themed independent film movement, which focused on rejecting heteronormativity and concentrated on LGBTQ protagonists––existed on the fringe of the film world. It's worth noting that while the movement primarily refers to the boom in independent LGBTQ films from 1992 onwards, queer cinema existed for many years prior, albeit without a proper name. But regardless of nomenclature, New Queer Cinema was typically designated for niche audiences, relegated to arthouse showings at best.
There's a big problem with the trailer for Morbius, Sony's upcoming Marvel outing that is definitely not part of the Marvel Cinematic Universe even though it has Michael Keaton reprising his role as Vulture (please let us keep our license, Disney!).
See if you can spot it.
MORBIUS - Teaser Trailer www.youtube.com
If you answered, "Sampling Beethoven's 'Für Elise' to line up with blue-tinted action shots is the absolute lowest effort, brain-dead attempt to signify 'gothic vampire movie' in the entire history of movie trailers," you're correct, but that's still not the biggest problem with Morbius. No, the biggest problem is that Morbius is played by Jared Leto.