This time, Katy Perry teased the announcement of her brand new copy, “143,” with an ominous pledge: “Sleep slow, for tomorrow, the portal will open.”
Thank you for reading this post, don't forget to subscribe!Paying attention to the copy’s top single, “Woman’s World”, I think it’s a portal to momentum.
“Woman’s World,” released Thursday, can be read as Perry’s determined goal to recapture the allure of pop domination in the 2010s — those old days when the girlboss mentality ruled, and it was considered radical to say the least. That girls can just do everything men can do, and we do it in heels!
In the song video for “Woman’s World”, Perry’s visuals are clearly intended to be cheesy. She presents herself as a hypersexual model of Rosie the Riveter, strutting around in a star-spangled bikini before an anvil crushes her.
After this, she is resurrected as a gorgeous semi-cyborg, wearing an impressive man’s ring as bright as the image of Venus and riding a monster truck with a glowing uterus attached to its bumper. Has gone.
Perry’s impromptu tune attempts a satire crash with its fresh lyrics. Satire works best when there’s one thing to point out, and there’s no trace of complexity, self-awareness, or cultural research in the lyrics, such as, “She’s a flower, he’s a thorn/Superman.” , No. 1 / She is a sister”, , She is a mother.”
The image of Venus and the glowing uterus are not subversive in this context; They fit in perfectly with Perry’s gender-essentialist fantasy. The entire song exists like this: without any subject matter, platitudinal and praiseworthy, far more insipid than the initial teaser.
It’s been 4 years since Perry closed her previous release, “Smile”, with almost the same sentiment: “Is this the way we live/The whole world goes round/In a pair of heels?/Yeah, same lady. “
So much has evolved since The Closest, although, it would seem, no longer for Perry. Somehow, she still thinks that reciting a list of random adjectives and randomly associating stilettos with strength is a symbol of feminism.
Perry enlisted Dr. Luke and his crew to create this feminist anthem
Truth be told, it is something else. Five countries are credited as songwriters for “What Makes a Woman”, although none overlap with the six writers credited for “Woman’s World”. It took six nations to achieve the rhyme of “feminine divine” with “born to shine” – and as you may have heard, one of them is Dr. Luke.
Perry has worked with Dr. Luke repeatedly in the past. He was instrumental in the chart-topping fortunes of Perry’s “Teenage Dream” and “Prism” era. However, until now, Perry had not worked with Dr. Luke since 2014, when Kesha sued him for emotional and sexual abuse.
Kesha’s civil complaint details a decade of life-threatening consumption problems and mental torture at the hands of Dr. Luke, who discovered her as a teenager. It is alleged that he gave her intoxicants and raped her. Dr. Luke has completely denied this.
Kesha supporters protest outside the untouched York Shep Best Court in 2016. James Deveney/GC Photographs
Dr. Luke was never convicted in a court of law. Her lawyers fought Kesha’s civil suit on technical grounds, and it was dismissed in 2018 because the statute of limitations had expired, not because her claims were deemed baseless.
Similarly, when Dr. Luke sued Kesha for defamation, the case somehow never reached a jury. In turn, events eventually led to a secret agreement for the future.
Only one future after Dr. Luke’s criminal battles ended, he has already been welcomed back into Perry’s orbit.
To be sure, Perry isn’t the only artist to have worked with the disgraced pop producer since Kesha’s allegations rocked the industry. His name (and his many pseudonyms, including Tyson Trax and Loctor Duke) can be found scattered around the credits on Doja Cat’s Grammy-nominated copy of “Planet Her,” Nicki Minaj’s “Pink Friday 2,” and Kim Petras’ entire catalog. Are. ,
Of course, Dr. Luke has recently made a quiet comeback, earning Grammy nominations for his work on quintessential Doja tracks like “Say So” and “Best Friend,” as well as “Kiss Me More.” Have also achieved victory. Despite the fact that Doja distanced herself from Dr. Luke in 2021 (his name is absent from her untouched copy, “Scarlet”), others are still open to working with the longtime hitmaker , no matter what their reputation.
So disagree, Perry is not unwanted, although hypocrisy is very good at this job. Enlisting an accused abuser for a song about female empowerment — a song that’s actually known as “Women’s World” — is ironic in a way that’s too obvious to really understand. If it weren’t so rude it might even be funny.
A brand new copy of Katy Perry’s “143” is expected to be discounted in September. capital data
Wouldn’t it make extra sense for Perry to work with female songwriters and producers to showcase her feminine lifestyle? Or, at least, someone with a track record of making women feel comfortable in the studio? There are enough to choose from: Jack Antonoff and SG Lewis are named, or in all likelihood Zedd, who produced “Never Really Over”, which was Perry’s biggest triumph of the decade.
Perry made a unique, very deliberate choice. She took care of Dr. Luke and all the luggage he brought; All 4 alternative songwriters on “Woman’s World” are collaborators or signees of Dr. Luke.
Capitol Data Supply told Rolling Stone, “Katy knew exactly what album she wanted to make and she assembled the team to make it.”
Perry’s ‘Ladies Global’ proves she’s stuck to the tune of speed
No doubt Perry knew he would face backlash – and for what? “Woman’s World” is no longer a true song in any sense. It has all the warmth and air of mystery of an AI chatbot, the bombastic subtlety of a “Saturday Night Live” parody. In fact, the heavy-handed self-mockery in “This Is Not a Feminist Song” is more inclusive and subtle than Perry’s unhinged paintings — and that drama aired in 2016, when Hillary Clinton thought she’d be the first female president. .
Eight years later, Perry is on the same marketing campaign path playing a model of herself, a teary-eyed heroine who no longer exists.
Leaning on Dr. Luke to create a song like this, so bland and uninspired, is the mark of an artist who is not only stuck in motion, but also able to see challenging situations beyond his thin outer bounds. Not there.
Most likely, in Perry’s white, cisgender, mega-wealthy family, it really does feel like a girl’s world. For extras actually living, it’s not much anymore — and the shallow idealism of the 2010s, the fuel of Perry’s once-beloved empowerment porn (“Firework,” “California Girls,” “Roar”). Recently serves as voice-deaf and protection.
It doesn’t matter if Perry is trying to promote a more or less delusional utopia, I’m not buying it anymore. However, on the bright side, she could make a fair amount of cash by licensing this song to Tampax Industrial.
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