Travis Scott sure knows how to make an entrance
Travis Scott's highly anticipated third album recently released and it's come with more baggage than anyone could have imagined. The 17-track amusement park themed experience exudes a creepy, disturbing, haunted feel that mirrors that of American Horror Story meets rap.
Top tracks are definitely "Carousel," "Sicko Mode" and "Stop Trying to Be God" — perfectly complimenting to each other and the album. "Carousel" boasts a strange beat and a heavy bass, setting the perfect mood for Scott and Ocean to recount their days taking various drugs and just living in the moment. Along with an intro from Big Tuck, this track is the perfect second song to Astroworld.
"Sicko Mode" is another essential hustle song about finally making it and being above all the other competitors — Drake and Travis Scott rap about how they're in "sicko mode" over an ever changing beat and sound. You can also hear lowkey creepy amusement park theme in parts of the song, contributing to this ode to Astroworld, a
failed park back in Scott's hometown of Houston.
Features can either make or break the album — and in this case, Scott made sure he wasn't short of any. Some favorites include Frank Ocean on "Carousel," Drake on "Sicko Mode," Swae Lee on "R.I.P. Screw," and a part of Migos for "Who? What!" Tracks like "Stop Trying to Be God" and "Skeletons" boast a huge number of features from three or more big names, which makes us wonder what the budget for this album was...
Amid accusations of Scott never mentioning his baby mama, he delivered this time with numerous mentions of Kylie Jenner and their daughter, Stormi Webster, in Astroworld. In "Stargazing," Scott mentions how a girl saved his life out of nowhere and that his "baby mama is a trophy." However, in this context, it seems like the couple enjoys the phrase "trophy wife" — quite a contrast from its usual insulting tone.
Money is definitely a big component of their relationship — "We just rocked Coachella, I gave her half the check." This mention on "Skeletons" doesn't seem like Jenner is the sugar baby type though — she definitely contributed to his huge crowds at the performance too.
However, my favorite is definitely "Baby mama cover Forbes, got these other bitches shoot" — Jenner is definitely not reliant on Scott for his success or money. She's got her own life too as part of the power couple.
Album releases don't drop without their fair share of controversies — Scott's particular issue comes from his exclusion of Amanda Lepore from his album cover, shot by David LaChapelle. Some fans and outsiders accuse Scott of being transphobic as Lepore is a famous, groundbreaking trans model — others cry of overly P.C. culture and that Scott meant nothing by it.
Nobody knows why Scott removed Lepore, but there have been lots of accusations of transphobia within the rap community lately —
Migos were rumored to not want drag queens even in the room at their SNL rehearsals and Cardi B was called out for defending her man.
Whatever Scott's intentions were, the album cover somehow doesn't look complete without Lepore in the left background — David LaChapelle is a renowned photographer and it seems like he would know what he's doing. And thankfully, Lepore responded with grace and dignity.
In this world today, song and album releases aren't just about the music anymore — if you want extra attention for your work, you may need to add more spice to your character. And Travis Scott did just that.
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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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