Our queen of midsummer melancholy might be embarking on her most high-profile collaboration yet.
Lana Del Rey can she can do whatever she wants.
The 34-year-old is celebrating her birthday today, June 21st, which also happens to be the summer solstice. That she was born on the longest day of the year, which is also associated with a variety of mystical midsummer rites, seems appropriate in light of Del Rey's somewhat mystical status in pop culture. (Who could forget the time she hexed Donald Trump?)
Image via Out.com
Over the course of her career, she's joined forces with a wide variety of collaborators, from Stevie Nicks and Julian Lennon to A$AP Rocky and the Weeknd. Her ability to braid hip-hop, folk, pop, and psych rock has allowed her to constantly redefine her sound, and she's been a leading architect of this post-genre moment in music. Her aesthetic fluidity has also allowed her to shapeshift again and again, moving from sad girl to super-diva, Hollywood starlet to itinerant bohemian.
A collaboration with Miley Cyrus and Ariana Grande would be a characteristic change of pace for the self-proclaimed "chameleon soul," marking a movement towards the top stratas of mainstream pop. Speculation began when Miley Cyrus liked a comment mentioning a collaboration between the three stars; then Ariana did the same thing with another post.
.@ArianaGrande fuels the ongoing @MileyCyrus & @LanaDelRey collaboration rumors by liking an Instagram post. https://t.co/zXJWpGRbBs— Pop Crave (@Pop Crave)1560904745.0
As ex-kids' TV pop stars with little indie cred to their names, Grande and Cyrus may not seem like the likeliest collaborators for the more fringe-based Del Rey. However, if you think about the spaces they occupy in modern culture and their music itself, it's not such a reach to imagine them getting high together in some luxe California villa and brainstorming the song of the summer. They probably have things to talk about: Grande has rebounded from her fair share of tragedies and destructive and difficult relationships; and Miley Cyrus has reinvented herself as many times as Del Rey, facing an equal amount of backlash for her anti-feminist, scandalously sexualized persona during the "Wrecking Ball" era, then suddenly reverting back to a Madonna figure as if none of it had ever happened.
There's something almost punk about all three of these women, each of whom make so many Christian mothers and people on the Internet so viciously angry, and there's something phoenix-like about the way they've all reinvented themselves, persistently releasing surprising, emotionally raw music and never becoming who people want them to be.
Miley Cyrus covers Summertime Sadness in the Live Lounge www.youtube.com
Happy Hippie Presents: Don't Dream It's Over (Performed by Miley Cyrus & Ariana Grande) www.youtube.com
There are also plenty of reasons to dislike each of them, namely that they have all appropriated and discarded elements of black culture. Plus, the quality of Grande and Cyrus's music has varied, and all of their careers have involved a fair number of crash-and-burn moments—but through it all, they've kept listeners hanging on their every move, watching as they rise from the ashes again and again. If the three do release a collaboration, we all know we're going to be listening.
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Breaking down the bias of comfort films.
With the constant onslaught of complicated news that 2020 has brought, sometimes you just want to be able to shut off your brain, relax, and feel happy.
Enter comfort films. These are the feel-good movies that feel like a warm hug when you finish them, the ones that allow you to escape for a short while. We often turn to these types of films in times of trouble or extreme stress, and when we're not sure what films of this nature we should watch, we turn to the Internet for options.
Rivera's "Glee" character was not just important, she was groundbreaking.
As a young queer girl growing up in the south, I was lucky that my parents weren't homophobes.
My parents believed that people were sometimes born gay, and while they wouldn't "wish that harder life" on their children, they certainly made me and my sister believe that gay people were just as worthy of love as anyone else. I was lucky.
Still, in my relatively sheltered world of Northern Virginia (a rich suburb near Washington D.C.), homophobia wasn't as blatant as hate crimes or shouted slurs, but it was generally accepted that being straight was, simply, better.
In high school, it wasn't uncommon to use "gay" as an insult or for girls to tease each other about being "lez." While many of us, if asked, would have said we were in support of gay marriage and loved The Ellen Show, being gay remained an undesirable affliction.
Even more insidious, I was instilled with the belief—by my church and my peers—that if gay and lesbian people could be straight, they would. But since they were simply incapable of attraction to the opposite sex or fitting into traditional gender roles, we should accept them as they are as an act of mercy. At the time, this kind of pity seemed progressive and noble. Those in my close circle of family and friends weren't openly dismissive or condemning of gay people, but we saw homosexuality as a clear predisposition with no gray areas.
Specifically: Gay men talked with a lilt, giggled femininely, and were interested in things that weren't traditionally "masculine." Meanwhile, gay women dressed like men, had no interest in makeup or other traditionally female interests, and probably had masculine bodies and features. In my mind, before someone came out as gay, they did everything in their power to "try to be straight" but were eventually forced to confront the difficult reality that they felt no attraction at all to the opposite sex. I viewed homosexuality not as a spectrum, but as a black and white biological predisposition that meant you were thoroughly, completely, and pitiably gay.
As a child, when I began to experience stirrings of attraction for other girls, I would reassure myself that not only had I definitely felt attraction for men in the past, but I also liked being pretty. I was a tomboy as a child, sure, but as I got older I recognized that my value was increased in the eyes of society if I tried to be a pretty girl. As it turned out, I even liked putting on clothes that made me feel good, I liked applying makeup, and I liked some traditionally "feminine" things. In my mind, this meant that I couldn't be gay, because gay women didn't like "girl" stuff.
As a teenager, I began to learn more about the difference between gender and sexuality, and the fluidity of both. I began to let myself feel some of the long-suppressed feelings of queer desire I still harbored.
Still, in the back of my mind, the instilled certainty of sexuality as an extremely rigid thing sometimes kept me up at night. What if I was gay? Would I have to change the way I looked? Would I have to give up some of the things I liked? In my mind, being gay meant your sexuality was your whole identity, and everything else about you disappeared beneath the weight of it.
But then, Santana came out as gay on Glee.
GLEE - The Santana 'Coming Out Scene' www.youtube.com
If you didn't watch Glee, than you might not know the importance of Naya Rivera's character to so many queer young women like myself. Santana was beautiful, she was popular, she had dated boys, she was feminine, she was sexy, and she was gay. There's even evidence that Santana had previously enjoyed relationships with men.
But the character came out anyways, not because she had to or because it was obvious to everyone around her that she was gay, but because her attraction to women was an aspect of her identity she was proud of. It wasn't an unfortunate reality she simply had to make the best of; it was an exciting, beautiful, aspect of her identity worth celebrating.
Before Santana, it had never really come home for me that being gay wasn't an entire identity—that it wasn't an affliction or disorder, but just another part of a person. She also didn't suddenly start wearing flannels or cutting her hair after coming out. She was the same feminine person she had always been. I had never realized that being a gay woman didn't have to look a certain way. Santana and Brittany's gay storyline showed two femme-presenting women in love, and for me, that was a revolution.
If it wasn't for Naya Rivera, we may never have had that important story line.
"It's up to writers, but I would love to represent [the LGBTQ community] because we know that there are tons of people who experience something like that and it's not comical for them in their lives," Rivera told E! News in 2011. "So I hope that maybe we can shed some light on that."
While Rivera herself wasn't gay (the importance of casting gay actors in gay roles is a separate conversation), she understood how important her character was to the queer community. "There are very few ethnic LGBT characters on television, so I am honored to represent them," Rivera told Latina magazine in 2013. "I love supporting this cause, but it's a big responsibility, and sometimes it's a lot of pressure on me."
Rivera wasn't just a supporter of the LGBTQ+ community on screen. In 2017, she wrote a "Love Letter to the LGBTQ Community" for Billboard's Pride Month. In it, she wrote, "We are all put on this earth to be a service to others and I am grateful that for some, my Cheerios ponytail and sassy sashays may have given a little light to someone somewhere, who may have needed it. To everyone whose heartfelt stories I have heard, or read I thank you for truly enriching my life."
Now, as we mourn the loss of Naya Rivera, at least we can take comfort in knowing that her legacy will live on—that the light her Cheerios ponytail and sassy sashays gave us won't go out any time soon.
Excuse me, I have to go weep-sing-along to Rivera's cover of landslide now.
Glee - Landslide (Full Performance + Scene) 2x15 youtu.be
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