Posted on 06/19/2019 5:37:32 AM PDT by Cronos
Pop superstar Taylor Swift is doubling down on her new social justice warrior persona with the release of her latest music video, a full-blown LGBT anthem that depicts those who hold a Christian view of homosexuality and a bilogical view of sex as angry, dim-witted rednecks.
NBC News describes the video for “You Need to Calm Down” as a “vibrantly colored, surreal” trek through a “pastel-colored trailer park, with anti-LGBT protesters being faced down or ignored by the flamboyantly dressed stars” that “culminates with [sic] a massive foot fight.” Celebrity guests include Katy Perry, Ellen Degeneres, Ryan Reynolds, and Laverne Cox.
The video includes caricatures of anti-LGBT protesters as screaming rednecks with cartoonish hair and tattered clothes, bearing signs such as “homosexuality is sin” and a misspelled “get a brain morans.”
“You are somebody that we don’t know, but you are coming at my friends like a missile,” Swift sings. “Why are you mad? When you could be GLAAD?” (The official lyrics video spells the word “glad” with two A’s, a reference to the LGBT activist group.) The lyrics also tell the straw-man version of Swift’s foes that they “would rather be in the dark ages” and need to “control your urges to scream about all the people you hate, ’cause shade never made anybody less gay.”
The video ends with text exhorting viewers: “Let’s show our pride by demanding that, on a national level, our laws truly treat all of our citizens equally. Please sign my petition for Senate support of the Equality Act on change.org.”
The so-called Equality Act would add “sex,” “sexual orientation,” and “gender identity” to federal “non-discrimination” categories in “public accommodations,” expand the definition of “public accomodations” to include recreation, shopping, online retailers, health care services, and other kinds of establishments, and force anyone employing 15 or more people to recognize their claimed “gender identity” and mandate transgender “access” to opposite-sex restrooms, locker rooms, and dressing rooms.
“Taylor Swift is one of the world’s biggest pop stars. The fact that she continues to use her platform and music to support the LGBTQ community and the Equality Act is a true sign of being an ally,” GLAAD director of talent engagement Anthony Ramos said. “‘You Need to Calm Down’ is the perfect Pride anthem, and we’re thrilled to see Taylor standing with the LGBTQ community to promote inclusivity, equality, and acceptance this Pride month.”
For years, liberals attacked Swift for her relative silence on political and cultural causes. She gave in to the pressure last year, first by endorsing Tennessee’s former Democrat governor Phil Bredesen in his failed Senate race against Republican Marsha Blackburn. In April, the country-turned-pop star donated $113,000 to the left-wing Tennessee Equality Project (TEP) to combat a series of bills before the Tennessee legislature to protect private entities’ religious and conscience rights and reject state recognition of same-sex “marriage.” Swift and TEP dubbed the legislation a “Slate of Hate.”
Thank you. She certainly does not separate her politics (bandwagon jumping) from her performance. She can’t get away with merely trading on overt, in-your-face sexuality anymore, so she’s decided that the way to stay relevant is to become a slogan-spouting politicized performer. I mean, where was this political awareness when she was young and rolling around the floor singing “Like A Virgin”, and snagging Britney Spears (if a man had done that, he’d be hounded out of the business by the “MeToo” types).
What a shame that Frampton and Marriott weren't able to reunite before Marriott's tragic death.
I recently heard some old Helen Reddy songs and realized, “Wow, you just don’t hear voices like that nowadays.” I mean, her voice was so clear and pure...
I have to laugh that McCain, who now is universally loved by the Left, was still called “Hitler” when he ran against Obama.
I think nickelback is probably the last real prolific talent. Train is pretty good too for softish rock. Both pretty original and not simplistic like Black Crows although “She talks to angels” was good.
Here’s something I stumbled across on youtube.
https://www.youtube.com/watch?v=eEmdOemsr_A
ELO live in 2001 for their come back tour though I had no idea they(Jeff Lynn really) made a comeback. He could still hit all the octaves/notes at his age, 54 at the time. The entire band has impeccable timing and they do a real good job considering the size of the band and how orchestrated his music was. It made me look him up on wikipedia. I didn’t realize he was a producer too. He produced solo albums for Paul, George and Ringo and was involved with the Traveling Wilburies. Also produced for Tom Petty, Roy Orbison, Bryan Adams.
I’m afraid that I must agree with you. Also, the money is in touring now, not record sales, and touring means “performance”, not singing or playing an instrument live. The record labels now aren’t looking for fresh talent, they’re looking for pretty young people who can be molded to fit the “formula”. They would certainly never take on the groups like Little Feat or Steely Dan these days, and allow them one or two not-so-well-selling records, and nurture them along, like they used to. As The Who sing, “Rock is dead they say, long live rock”, and I think they mean that ironically.
ELO without the late Kelly Groucutt is basically just Jeff Lynne solo.
Not that it’s a bad thing, but it is what it is.
Probably because the majority of her fan base really won’t care (the Dixie Chicks we’re in country back when it was still, just barely, a genre directed to a more conservative audience), at best they will shrug their shoulders and not care one way or the other. For the majority of non-sodomites, they’re still operating on “live and let live” and not realizing that the purple mafia is not going to allow any fence-sitting, they’re going to force people to declare themselves, and God help you if you declare the “wrong” way.
Same as Madonna. As soon as she got too old to prance around flaunting her sex, she had to jump on the political bandwagon to stay “relevant”.
We may want to live and let live, but as has been made plain by the sodomites suing small business owners, the purple mafia isn’t going to have that. You’re either going to declare your approval, even celebration, of their perversion, or they will make your life hell in whatever way thy can. Perversion needs the support of society, “normalization”, to perpetuate itself and gain access to people’s children.
Agree. I think they had some plans, IIRC from an interview with Frampton, but then the fire happened. Always loved “Thirty Days In The Hole”, what a down-and-dirty song, and I mean the sound, not just the lyrics.
I remember that. I live in Los Angeles, and for a while they tried to blame it on the All Powerful Mormons, then they just kind of shut up about it.
So many. I’m a hard rock (not metal though) gal when it comes to rock (though I have a fondness for the 70s singer-songwriters), but you don’t hear voices such as Helen Reddy’s, Anne Murray’s, or the wonderful Karen Carpenter’s anymore. The few who can actually sing now, seem obligated to do screaming scale runs in all their songs, no more warm, womanly voices.
Frampton left HP before they did that song.
And that trilling black thing women singers do, even the white ones, it’s annoying.
Yeah... either screams and growls, or they just sound horribly nasal.
Yeah, I remembered that after I posted. Oops!
There’s a great channel on YT, Rick Beato’s, where he somehow has access to the actual separate tracks of a lot of classic rock songs (and a lot of newer ones), and he breaks the songs down, called “What Makes This Song Good?” (He has connections in the industry, and was involved for some years). He has a great interview with Frampton, and he just posted one with Larry Carlton, one of my favorite guitar players (ie, the solos on Steely Dan’s “Don’t Take Me Alive” and “Kid Charlemagne”, amongst others). He also did a wonderful, very informational breakdown of YES’ “Roundabout” using the separate tracks from the actual song.
There’s a great channel on YT, Rick Beato’s, where he somehow has access to the actual separate tracks of a lot of classic rock songs (and a lot of newer ones), and he breaks the songs down, called “What Makes This Song Good?” (He has connections in the industry, and was involved for some years). He has a great interview with Frampton, and he just posted one with Larry Carlton, one of my favorite guitar players (ie, the solos on Steely Dan’s “Don’t Take Me Alive” and “Kid Charlemagne”, amongst others). He also did a wonderful, very informational breakdown of YES’ “Roundabout” using the separate tracks from the actual song.
Melisma-it was impressive when used judiciously, but ever since the heyday of Whitney Houston, Mariah Carey, Celine Dion and Co, it’s been done to death.
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