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Showing posts tagged Katy Perry

Non-existent outrage - Sesame Street cancels Katy Perry

Well, Katy Perry fans, you will not be seeing her duet with Elmo on Sesame Street.

Perry recorded a parody version of her song “Hot N Cold” and made a video with Elmo, but Sesame Workshop decided not to air the video on the show after its presence on YouTube sparked complaints from commenters who thought it was too risque — apparently, based on the visible YouTube comments, because it contains too much cleavage…

I made such a remark (something more insightful than “lol bewbs”, thank you very much) on the YouTube video myself, and initially it was clear the majority of us were joking… no doubt some were serious, but this might be a case of a perceived “moral panic” when there really is none.

And the truth is, there’s no grounds for talk of supposed “immorality”, either. There’s simply no way kids would perceive any sexual themes in such a costume (which really DOES resemble how an 8-year-old would play dress-up, after all), in the same way that they’d make nothing of the song’s original lyric “you PMS like a b****”. But they changed that, and I guess it’s just an extension of playing it safe that they’re changing the video too.

SUPER IRONY - my comment on the NPR website was originally rejected because I directly quoted a song with swearing! How offensive!!!!

Why are people shocked that producers have signature sounds?

maura:

Today a video that sets out to “prove” that Ke$ha’s “Tik Tok” and Katy Perry’s “California Gurls” and Miley Cyrus’ “Permanent December” are “the same song” made the rounds, and as you can imagine, it got a lot of pickup from people who like getting all OMG [INSERT LOATHED ARTIST HERE] IS SUCH A RIPOFF SUCK ARTIST. What I don’t get is why the rhetoric surrounding the video has turned into a matter of artistic intent of the three singers, instead of a look at the similarities behind the scenes. To wit:

“Tik Tok” is credited to Kesha “Ke$ha” Sebert, Lukasz “Dr. Luke” Gottwald, and Benjamin “Benny Blanco” Levin.

“Calfornia Gurls” is credited to Katy “Ugh” Perry, Bonnie “Hey Guys I Was In ‘The Long Tail’” McKee, Calvin “Snoop Dogg” Broadus, Max Martin, and Dr. Luke.

“Permanent December” is credited to Miley Cyrus, John Shanks, and Claude Kelly. Kelly co-wrote Kelly Clarkson’s “My Life Would Suck Without You” with Max and Luke, Britney Spears’ “Circus” with Luke and Benny, Miley Cyrus’ “Party in the U.S.A.” with Luke and Jessica Cornish, and Adam Lambert’s “For Your Entertainment” with Dr. Luke. Obviously I’m not privy to how exactly those credits break down, but you do see a pattern here. Shanks has writing credits on, among other songs, Hilary Duff’s “Come Clean” (with Kara DioGuardi!!), a bunch of songs from Ashlee Simpson’s Autobiography, and some of the non-singles from Kelly Clarkson’s Breakaway.*

So, to sum up: People who worked together have aesthetics that have rubbed off on one another. I mean, ugh, I know it’s the Internet, and OMG CONTROVERSY is the name of the pageview-goosing game. And it’s not like there are Dr. Luke fangirls clogging up ONTD and big-upping their hero and his protégés and collaborators 24/7. But Jesus, people. If you want to bitch about songs on the radio sounding the same, maybe scratch the surface as far as Wikipedia and figure out why?

(via bwall05)

In my experience, no non-music nerd/critic has EVER looked up a pop songwriting credit. Not people who are big enough fans to see the live show, nor the rockists who use “but she doesn’t write her own songs!… does she?” as a criticism they’re never quite sure is true. How the likes of ’80s Kylie Minogue and Rick Astley can sound exactly the same seems to be a mystery with no answer.

With that said, having always felt Max Martin/Dr. Luke were the definition of hacks, I laughed very hard the first time I heard California Gurls… and yet I can’t complain that they’d effectively just made Tik Tok listenable.

...and Ann Powers, also on Teenage Dream.

"Whatever person exists beneath Perry’s wigs and costumes is irrelevant to her music. Her process of self-creation is the purpose and sum of her art.

It’s enough to millions of listeners — especially young women — because this kind of constructed self has been a feminine reality since long before Peggy Olson started hawking Pond’s cold cream. “Put your hands on me in my skintight jeans,” Perry murmurs to a paramour in the title track, but it’s the clothing that matters more than the chance to get naked.”

Ann Powers, who I also dearly love, with a considerably more positive (but equally well-written) take. On the other hand, she did like Ke$ha’s ‘Animal’. Great, now I may actually have to swallow my Max Martin/Dr. Luke gag reflex and make up my own mind.

Greg Kot on Katy Perry, 'Teenage Dream'

"But there’s nothing subversive about “Teenage Dream.” Perry’s notion of how teenage girls behave – or what they want from their pop music – is pretty depressing. It shares a lot in common with the major-label executive who once said he signed Britney Spears so he could market her not just to the overdriven libidos of adolescents but to the dirty imaginations of older men."

Kot’s always great, but could this review get any more perfect? This is how to do it - justified savagery, not self-important snark. And it sums up her schtick so well no one else may ever have to talk about her again.

I wouldn’t necessarily say I dislike Katy Perry… and I don’t mind her as a person, but her MTV Unplugged trailer forcibly makes me point and laugh. The world truly does not need a cabaret version of I Kissed a Girl.