Hello, everyone! My first year of college is over. I’m so excited to be back in my house where no one can bother me. But enough about my antisocial tendencies. If you’ve been on Youtube lately, you might have noticed that Miley Cyrus’ newest song “Malibu” is among one of the most trending videos. The music video showcases an entirely “new” side to Miley, one that embraces the softness, delicate femininity, and pure wholesomeness that Cyrus, and all women, have been supposedly hiding beneath their overly-sexualized exteriors.
To get a taste of the average person’s opinion of the new Miley, just read the comments on her “Malibu” video or even on older videos like “We Can’t Stop” and “Wrecking Ball,” which once incited a firestorm of media ire for being too provocative, too sexed-up, too unlike the Miley Cyrus the world had grown accustomed to through Hannah Montana. One commenter writes that “it looks like Miley has finally found herself” and another who says that she’s “the old Miley again.” Another common comment refers to an alleged personality switch between Miley and Katy Perry, whose new song “Bon Appetit” has gained notice for its controversial, overtly sexual video. These comments beg the question: since when has a pop star only been allowed one “acceptable” public image, and why, WHY does it have to be a pure one?
Hello, everyone! Today’s post is a concept I’ve been pondering for quite some time now, namely, who the fuck is Taylor Swift? She’s an artist whose songs I find so melodically satisfying that I listen to them on repeat, yet whose lyrics I find obnoxiously melodramatic. She’s a public figure who I both admire for her success and detest for its excess. Most importantly, she’s the quintessential American pop star, pure, sweet, and innocent like apple pie, yet also catty, vicious, and vengeful as an evil queen. There are many masks Swift wears as an artist and as a celebrity; I’d like to examine them through the lens of her lyrics, which like her, are a mixture of sincerity and artifice.
Hello, everyone! Music plays an instrumental (yes I’m that cheesy) role in helping emphasize a movie’s core emotions. Who can forget the tense fear exemplified by John William’s Jaws theme, or the tender nostalgia evoked by Howard Shore’s “The Shire” and its variations? These pieces are so effective that even a few notes can transport us back to that movie; what we thought, how we felt, and how we remember it. But of course, for every film with a beautifully matched soundtrack, there is a film with an awkwardly mismatched one. Let’s listen to a few, shall we?
Hello, all! I hope you all had a wonderful holiday and watched a ton of movies and television (just like me). I thought that’d I do another post on my favorite original movie soundtracks because why not spread the joy of music? Here’s my favorite original soundtrack list, part 2. Enjoy!
Hello, all! This post brought to you by the squirrel on Donald Trump’s head. This is the first post so far in my Music category, so of course I’ll start off with a list of my favorite genre of music: movie soundtracks. And no, Hans Zimmer is not my favorite composer. I’m sorry to have already disappointed you. I’m also going to leave out legendary composers like John Williams because although I appreciate the majesty of his movie scores, I’d rather write about some more modern composers. Your musical journey begins in 3…2…1… Continue reading Best Original Movie Soundtracks (In My Biased Opinion)→