RELATED
MUSIC
Popdust's Spooktacular Halloween Playlist
Are you tasked with hosting a Halloween party this year? Let us help you with the music.
10.17.2019
Howl you doing boys and girls? What's up, my witches?
Spooky season is drawing nearer, and with Halloween falling on a Thursday this year, it means that there is only one weekend to curate a spooktacular party playlist, and one opportunity to throw a fa-boo-lous Halloween party. It is no easy task, but if you want your guests to shake their BOOty, eat, drink, and be scary all night long, Popdust has just the playlist that will give your friends pumpkin' to talk about.
Itsy Bitsy Spider by Carly Simon
Have you ever heard such an elegant and moving interpretation of this spooky nursery rhyme? In this version, I wasn't rooting for the rain to "wash the spider out"; instead, Simon's mash up of the nursery rhyme with her hit "Comin Around Again" paints a darker picture. "I know nothing stays the same, but if you're willing to play the game, it's coming around again," Simon sings. The Spider's journey is a complex one: He is tenacious in his dream of scaling the water spout and is an inspiration to us all. "Nothing stays the same," little Spider, keep climbing. One day, you may just turn your dream into a reality. It's a reminder of our mortality and serves as the perfect song to kick off the night as your guests eat hors d'oeuvres and pour their first cup of spiked punch.
Follow the playlist on Spotify!
From Your Site Articles
- John Carpenter tops our release radar with his new anthology ... ›
- Halloween songs playlist new - Popdust ›
Related Articles Around the Web
- Halloween Party Mix (Holiday Playlist) - YouTube ›
- 45 Best Halloween Songs of All Time - Halloween Party Playlist for ... ›
- Best Halloween songs: Your spooky party playlist ft. Rihanna, The ... ›
- The Ultimate Halloween Party Playlist ›
- HALLOWEEN PARTY PLAYLIST on Spotify ›
- 40 Best Halloween Songs to Rock Your Costume Party ›
Lin Manuel-Miranda's Hamilton has taken the theater world by storm since its 2015 Broadway premiere.
A hip-hop musical about America's founding fathers doesn't sound immediately appealing, but Manuel-Miranda's brilliant song writing and diverse casting not only captured the attention of audiences, but proved that major change is possible within an art form as encumbered by traditions as musical theater.
<p>For most of us, being able to afford tickets to see the show in person has been a distant dream. Instead, we've obsessively listened to the cast recording, followed every new Hamilton performer on Instagram, and otherwise engaged with the show as much as possible without actually seeing it. </p><p>Finally, that's all about to change. Disney+ is bumping up the release of its recording of the musical by over a year. Instead of the planned theatrical release set for October 15th, 2021, it'll be out on July 3rd, 2020. That means we can all finally experience the glory of Aaron Burr's wrath from the comfort of our social isolation. </p><p><div id="ezoic-pub-ad-placeholder-632"></div>
<!-- End Ezoic - undersecond12 - under_second_paragraph --></p><p>With the acclaimed production finallu accessible to a wider audience, it's worth reflecting on the cultural impact of the mega hit. Obviously, when a show has this kind of reach, criticism is inevitable. In 2016, it was the <a href="https://www.huffingtonpost.co.uk/entry/no-the-hamilton-casting-call-for-non-white-actors-is-not-reverse-racism_n_56fd2c83e4b0daf53aeed9b9?ri18n=true" target="_blank"><u>Hamilton casting notice that specified "people of color"</u></a> that sparked controversy. Inevitably, people have also <a href="https://feministspectator.princeton.edu/2016/02/24/hamilton/" target="_blank"><u>questioned</u></a> the strength of Manuel-Miranda's female characters.</p><p><div id="ezoic-pub-ad-placeholder-632"></div>
<!-- End Ezoic - undersecond12 - under_second_paragraph --></p><p>Firstly, <em>Hamilton</em> does not pass the Bechdel test. If you aren't unfamiliar with it, the Bechdel test was created by the comic artist and inspiration for the musical <em>Fun Home</em>, Alison Bechdel as a way to test a movie, TV show, or play. <a href="http://bechdeltest.com/" target="_blank"><u>The test</u></a> "…names the following three criteria: (1) it has to have at least two named women in it, who (2) talk to each other, about (3) something besides a man."</p><p> <em>Hamilton</em> passes the first two criteria easily, though there are significantly fewer female characters than male (in fact only four named female characters compared to sixteen named male characters). These four female characters are the three Schuyler sisters—Angelica, Eliza, and Peggy—and Maria Reynolds, Alexander's eventual mistress. Maria never speaks to another woman, making her irrelevant to the test. The sisters, despite having many interactions, never have a whole conversation without discussing their search for a man or, once they meet him, Hamilton himself. </p><p><div id="ezoic-pub-ad-placeholder-632"></div>
<!-- End Ezoic - undersecond12 - under_second_paragraph --></p><p>Despite this, one could argue that the Bechdel test is an unfair assessment of the female characters in <em>Hamilton</em>, as well as period pieces in general<em>, </em>for the simple reason that the past was, well, incredibly sexist. </p><p><div id="ezoic-pub-ad-placeholder-632"></div>
<!-- End Ezoic - undersecond12 - under_second_paragraph --></p><p>That being said, if you can change the telling of history enough to make Alexander Hamilton lay down a sick rap verse, can't you change it enough to create some autonomous female characters? According to Marjorie Strachey in <em>Women and the Modern Drama,</em> "As regards women the modern drama has before it a magnificent and almost untouched field, for the position of women is, and has been for fifty years, in a state of transition…"</p><p> So if this is true, is there any excuse for <em>Hamilton</em>, arguably the most influential work of modern drama in recent years, not to explore this unexplored territory?</p><p><div id="ezoic-pub-ad-placeholder-632"></div>
<!-- End Ezoic - undersecond12 - under_second_paragraph --></p><p class="shortcode-media shortcode-media-rebelmouse-image">
<img type="lazy-image" data-runner-src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yMzI3OTQ2MC9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTYzOTY2MzU4Mn0.yhWd03Tw9j2uaIRoSNlLN-scu_Tg3irkUmD_saZh_2A/img.jpg?width=980" id="0a7ed" class="rm-shortcode" data-rm-shortcode-id="3e4c16ceb851925bc7aad4c01e442233" data-rm-shortcode-name="rebelmouse-image" alt="Hamilton and Eliza ">
</p><p>It's worth noting that Miranda made it a priority to remain historically accurate in constructing his plot, so much so that<em> Hamilton</em> is being used as a means of historical education for grade school students. As unfortunate as it is, to make women any more involved in the life of Alexander Hamilton than they were would tarnish this historical accuracy. </p><p>Women during this time period were little more than property, to be bartered, used and exploited at the whim of whichever man's influence they were under at that time in their life. It could be argued that the Schuyler sisters are fully fleshed characters with inner lives and desires; the fact that their desires largely center around men is a reflection of the time they lived in, not the depth or strength of these characters.<br></p><p><div id="ezoic-pub-ad-placeholder-632"></div>
<!-- End Ezoic - undersecond12 - under_second_paragraph --></p><p>But, according to contributor James McMaster on HowlRound.com, the argument, "'Well, this is just how things are back then!'" is inadequate. McMaster argues, "…It's hard to accept such an explanation when black and brown men populate the stage…Given all the cross-racial casting, why was gender-bent casting beyond the musical's imagination?" </p><p>But wouldn't gender-bent casting rob the musical of the powerful ways it explores the gender division of the time period? A female Aaron Burr, for example, would tell an entirely different story. Aaron Burr and Hamilton's tension comes largely from a clashing of specifically male egos. </p><p><div id="ezoic-pub-ad-placeholder-632"></div>
<!-- End Ezoic - undersecond12 - under_second_paragraph --></p><p>That being said, according to Broadway World, Miranda stated that he is "open to the idea of gender bent casting", particularly in the cases of Thomas Jefferson and George Washington, two characters without love interests or majorly important gender roles within the plot of the show. </p><p>Beyond the critique that there aren't enough women in <em>Hamilton</em>, <a href="https://www.contemporarytheatrereview.org/2018/chandler-hamilton-almost-feminist/" target="_blank"><u>some find </u></a>that the female characters Miranda did create are devoid of strength. The instance most cited in this argument is Eliza's forgiveness of Hamilton after his very public infidelity (a historical fact). But couldn't it be argued that it's this very instance of grace that makes Eliza such a complex, strong female character? </p><p>The problem is that critics often look for female strength in the forms male strength might take, such as a lack of emotion, unwavering ambition, and a large presence. In Eliza, we are instead presented with a gentle woman who truly, deeply, loves her husband and has the courage to forgive him despite her anger. Is this not strength of a different, more delicate variety?</p><p><div id="ezoic-pub-ad-placeholder-632"></div>
<!-- End Ezoic - undersecond12 - under_second_paragraph --></p><p class="shortcode-media shortcode-media-youtube">
<span style="display:block;position:relative;padding-top:56.25%;" class="rm-shortcode" data-rm-shortcode-id="1ddd8f8e34185693645620aeffdf8a72"><iframe type="lazy-iframe" data-runner-src="https://www.youtube.com/embed/-_m_hwKu5FQ?rel=0" width="100%" height="auto" frameborder="0" scrolling="no" style="position:absolute;top:0;left:0;width:100%;height:100%;"></iframe></span>
<small class="image-media media-caption" placeholder="Add Photo Caption...">Phillipa Soo Burn Hamilton The Musical</small>
<small class="image-media media-photo-credit" placeholder="Add Photo Credit...">
<a href="https://youtu.be/-_m_hwKu5FQ" target="_blank">youtu.be</a>
</small>
</p><p>In the song "Burn," we see Eliza reject Alexander and turn her back on their love, showing that despite many women of the day merely accepting the unfaithfulness of their husbands as the norm, Eliza will not. Eliza burns all of the letters she had exchanged with Hamilton, and as Michael Schulman points out in his article for <em>the New Yorker</em>, "The Women of 'Hamilton'": "…The song points to the larger problem of women's history: the public records are thinner, the milieu is mostly domestic, and there's more need for speculation. </p><p>What was Eliza really thinking? Was burning her letters the only act of personal agency she had left?" One forgiving interpretation is that this is Manuel-Miranda's way of noting this lack of public records regarding women and acknowledging the way it inevitably affected his show.<br></p><p>One must also look at Eliza's actions in the context of the entire plot. She abandons pride and refuses to hold grudges, something both Burr and Hamilton are unable to do, resulting in Hamilton's ultimate demise. In that sense, isn't Eliza the true protagonist of the show? In the closing scene, we hear about all of the many things she accomplishes before her death, things that Alexander was not able to accomplish because pride and manly bravado robbed him of his life. </p><p><div id="ezoic-pub-ad-placeholder-632"></div>
<!-- End Ezoic - undersecond12 - under_second_paragraph --></p><p>Is her ability to forgive the very thing ultimately flaunted as what Hamilton was fundamentally missing— his fatal flaw? Eliza's philanthropic accomplishments are cited as the culmination of the life of Alexander Hamilton, arguing that despite all his male pride, brilliant writing, and delusions of grandeur, the best work done by a Hamilton was that of his wife.</p><p>This argument would not be complete without mention of the other primary female character in the show: Angelica Schuyler. Angelica and Alexander connect on an intellectual level and are described as equals in all aspects. We hear about Angelica's correspondence with many men of great power, showing that despite her power being limited by her gender, she asserts her mind as much as she can. Despite the special connection Angelica and Alexander share, Angelica concedes to the desires of her younger sister, giving her blessing to Alexander and Eliza's marriage. She chooses her sister over him in this instance, and when she hears of his infidelity she rushes to her sister's side to reject Hamilton entirely.</p><p><div id="ezoic-pub-ad-placeholder-632"></div>
<!-- End Ezoic - undersecond12 - under_second_paragraph --></p><p>Angelica is a smart, powerful woman who is held back only by her gender, something she recognizes in the song "Satisfied," by proclaiming, "I'm a girl in a world in which / My only job is to marry rich / My father has no sons / So I'm the one / Who has to social-climb for one …"</p><p>Finally, we must engage with the limits of the Bechdel test itself. Often, people take the Bechdel test as the deciding factor as to whether or not a work can be considered feminist, but that's not necessarily true. For example, the 2015 movie <em>50 Shades of Grey</em> passed the Bechdel test but is far from being a movie that represents women in a way that would make most feminists proud. In contrast, you can look at older works and see that they do not pass the Bechdel test either, but feature complex female characters. <span></span></p><p>Given all of this, one has to conclude that Manuel-Miranda actually did a fair job in creating complex female characters while maintaining historical accuracy in <em>Hamilton</em>. Of course, representation of women on stage is still sorely lacking, but of all the shows worth criticizing, it seems fair to conclude that the accusations of sexism have primarily been aimed at <em>Hamilton</em> because of its immense success. </p><p><div id="ezoic-pub-ad-placeholder-632"></div>
<!-- End Ezoic - undersecond12 - under_second_paragraph --></p><p>None of this is to say that the Bechdel test isn't a helpful and important way of criticizing art, particularly new works, and holding them accountable for the inadequate ways they incorporate women, especially in modern stories in which women are freed from many of the obligations they were burdened with in the past. </p><h2></h2><p>Perhaps the Bechdel test should be edited to stipulate that in works representing the past, female characters should be evaluated by their complexity and strength, <em>despite </em>their necessary attachment to men. Such a test might read as follows: "Are there two or more named female characters? Do they talk to each other about something other than men? If they do not, is it out of a desire for the approval of men, or for survival? If for survival, are they shown to have wants and desires outside of those surrounding men?"</p><p> In the case of<em> Hamilton</em>, the women's discussion of men is not because they do not think of anything else or are too simple to conduct lives separate from men, but because it is a decided necessity to find a man in order to survive. Additionally, this is not where the character development ends, we learn a lot about both women's desires and inner lives, making them real, multi-faceted human beings, anchored to men by their circumstances, not their inability to be independent.</p>
From Your Site Articles
Related Articles Around the Web
Keep Reading
Show less
MUSIC
The King of Pop Would Have Been 60-Years-Old Today
A Look Back at Our Picks for His Top 10 Music Videos
08.29.2018
It has been ten years since the world lost a legend.
Michael Jackson was one-of-a-kind; a talent who topped the charts and blew our minds. From childhood he was a pint-sized show-stopper, displaying a gift that kept on giving and growing over the years.
From "ABC" to "PYT," and every tune before, in-between, and up until his untimely death, the music Jackson made was pure gold with some killer moves to match. That's why watching his videos was so thrilling. Nobody could capture the camera like the crowned King of Pop. Emotional and energetic, every moment had us at the edge of our seats, listening to every nuanced note and watching as Jackson's body was driven by the beat.
Who knows what Jackson would have been doing if he were alive today. At 60, his music may have metamorphosed and his dancing may have taken a different direction, but we'd still be watching and wondering how the man could be so unique.
Let's take a trip down musical memory lane and celebrate what would have been the King of Pop's big 6-0. These 10 music videos are unforgettable…but in case you forgot, take a few Michael-inspired moments to celebrate a sensation and sing along to the magic that is Michael Jackson.
"Thriller"
For a scare that's cinematic, check out Jackson's video for "Thriller." Not only is the song a stunner, but the visual component was ahead of its time and tremendously inventive. The plot was perfect, the costumes chilling, and the choreography creative. If this video doesn't thrill you, nothing will. Watch it when "it's close to midnight…" for the full effect.
“Man in the Mirror”
If anyone was "gonna make a change," it was Michael Jackson. His poignant perspective turned into fuel for the betterment of mankind was not only moving, but music to our ears. The video helps us see the bigger picture, yet suggests how change can start simply by taking that first small step ourselves.
“Black or White”
Special effects aside, the statement behind the song and video for "Black or White" was a conversation piece. As Jackson took the concepts of racial equality and divide into the realm of pop culture, he was willing to use his larger-than-life platform to bring people together to display our sameness by using a modern "morphing" technique nobody could turn away from.
“Billie Jean”
OK, we get it, Billie Jean was not Michael Jackson's lover. But that didn't stop us from watching the "Billie Jean" video over and over again. The creative storyline paired with Jackson's toe-tapping twists and turns made this music video just as entertaining as the strong song itself. As the first short film produced for the Thriller album, "Billie Jean" was one to beat.
“You Are Not Alone”
Some may have felt that Jackson was, in many ways, all alone. Sure, he had millions of fans worldwide, but with such levels fame comes a sense of loneliness. Who else could share such a feeling than the daughter of another music legend, the lovely Lisa Marie Presley. Were the two married or was it some kind of publicity stunt? Who knows, but the media made the most of it. And the video for "You Are Not Alone" was our way of being flies on the wall peering into what may have been one of the most unusual pairings in history.
“Remember the Time”
From the celeb cameos to the over-the-top, opulent production of the video for "Remember the Time," this Jackson music video was full of mystery and history. Who could resist seeing the likes of Eddie Murphy, Iman, Magic Johnson, and the rest of the cast act out the theme of Jackson's song against an Egyptian royal backdrop? Enchanting and extravagant, once again, Jackson took a concept and crushed it.
“Scream”
Paired up with his little sister Janet, Jackson created a futuristic and fantastic video for his song "Scream." The look was like something shot in outer space and the sizzle that simmered off the star siblings was as hot as fire. Seeing these two talents making music together was nothing short of sublime. Scream with excitement as you experience these two members of the Jackson family do something truly terrific.
“Beat It”
The whole street fight concept combined with cool choreography puts the video for Jackson's "Beat It" on the top 10 list. And who could forget that signature red leather jacket that became a classic wardrobe piece forever linked to Jackson's unstoppable style? Looking tough and holding his own, Jackson brought grit to the set and shook things up. Hey, "no one wants to be defeated," after all.
“Say Say Say”
When the Beatle and the "Bad" singer joined forces for "Say Say Say," fans from all generations were saying, "Yay!" Paul McCartney is an icon, Jackson was a legend, and the two of them together made music history. The song was catchy and the video was fun to watch, making the collaboration a classic.
“ABC”
While not a "music video" per se, we can't leave The Jackson 5 off the list. After all, that's where Michael got his start in the biz. The band of brothers are feeling the beat as they perform "ABC" for Dick Clark and his amazed audience. Look at that mini-Michael take the stage and show his brothers who will one day rise to receive the title of King of Pop. Sorry Jermaine, but Michael's the man.
We miss you Michael! Happy birthday from your fans to you, and thanks for the soundtrack of our lives.
Melissa A. Kay is a New York-based writer, editor, and content strategist. Follow her work on Popdust as well as sites including TopDust, Chase Bank, P&G, Understood.org, The Richest, GearBrain, The Journiest, Bella, TrueSelf, Better Homes & Gardens, AMC Daycare, and more.
POP⚡DUST | Read More...
The Eagles Soar Past Michael Jackson
Related Articles Around the Web
- Michael Jackson's 60th Birthday: The King of Pop in Photos ›
- Michael Jackson Turns 60: Our 6 Favorite Album Covers Of All Time ›
- Mark Ronson Celebrates Michael Jackson's 60th Birthday With ... ›
- Janet Jackson Celebrates Michael Jackson's 60th Birthday With ... ›
- Michael Jackson would have been 60: His life and legacy ›
- 60 Years Of Michael Jackson, The Fashion Icon | British Vogue ›
- Ranking Michael Jackson's No. 1 hits, in honor of his 60th birthday ›
