One of the best things about Greta Gerwig’s Barbie — other than Ryan Gosling singing a Matchbox Twenty song to Margot Robbie — is the runtime. It’s only 1 hour and 54 minutes long. Nothing should last two hours, even one of the most fun films of the year (we’ll make an exception for Mission: Impossible – Dead Reckoning Part One because it rules.) Meanwhile, while Gerwig told an entire story in less time than the average trip to Ikea, conservatives are on day whatever of whining about Barbie. And the whiniest of all is Ben Shapiro.
The accidental Ken cosplayer posted a 42-minute and 43 seconds-long video to complain about “one of the most woke movies I have ever seen.” (To be fair, he’s only probably seen two other movies: his own and Small Soldiers, which he thought was about him.) Shapiro wasn’t done with his very public mental breakdown, however. He’s since posted two more Barbie-related videos, one (“Barbie Is Garbage, But You’re Not Allowed To Say So”) coming in at 1:01:55 and another (“Brett Cooper Liked Barbie…..I Have Questions”) clocking in at 34:34.
All told, Shapiro has spent nearly two hours and 20 minutes talking about Barbie, plus whatever cursed footage wasn’t good enough to make the final cut. No wonder Gerwig isn’t concerned about the right-wing backlash: it seems to be helping her movie’s box office total.
Welcome to another installment of Ask A Music Critic! And thanks to everyone who has sent me questions. Please keep them coming at [email protected].
The other day it occurred to me that the first Taylor Swift album came out in 2006, which kind of blew me away. For the past 15 years or so, she has been one of the biggest pop stars in the world. And she might be bigger in 2023 than she ever has been. Do you find this strange? It seems like pop stars, at best, have a decade or so at the top before they start to fade. But Taylor shows no signs that her popularity will wane any time soon. Why is that? And will her popularity ever fade? — Monica from Miami
I’ll answer the first question right away: Yes, I do find Taylor Swift’s seemingly unstoppable upward career trajectory to be strange! Not because I feel like she doesn’t “deserve” her fame. (I’m not sure anyone “deserves” fame, but that’s another question.) I just find it incredible that — as you observed — Taylor has defied the laws of pop-star gravity to such a spectacular degree. Based on well-established precedents, she probably should have dipped by now. Instead, her stranglehold on the pop mainstream has only tightened. Think of it this way: At various points in her career she has been linked with artists such as Kanye West, John Mayer, and Katy Perry as personal/commercial rivals. Not one of them is in her league now. She gets older, but her stardom stays the same age.
How did this happen? And will Taylor’s reign ever end? First, we should acknowledge that there are market forces at play that have disadvantaged emerging pop stars — the preponderance of new music, the continuing breakdown of a shared culture, the growth of TikTok — and therefore empowered established brands. An entire generation of artists who similarly became huge in the late aughts and early 2010s — Ed Sheeran, The Weeknd, Drake, Justin Bieber — also rank among the most streamed acts in the world. And that’s because there are a limited number of insurgents with the juice to overthrow them.
Nevertheless, Taylor Swift’s arc still feels exceptional. Let’s briefly review her career: Her debut comes out in 2006, and (sorry) swiftly establishes Taylor as a big-time country music star. Her status in that world grows over the course of the next two albums, Fearless and Speak Now. With Redin 2012, she crosses over as a full-on pop star. Two years later, she puts out her biggest LP, 1989, and effectively takes over the world.
This is her Thriller/Purple Rain moment. A pinnacle that can’t ever be topped. Or so it seems at the time. The follow-up to 1989, 2017’s Reputation, predictably sells a fraction the units that 1989 moved. There’s also the matter of a backlash caused partly by overexposure, and partly by extremely online people who blame her for the election of Donald Trump. This is the moment when pop-star gravity appears to be kicking in. Taylor was up, and now she must come down.
Only that didn’t happen. Lover sold slightly worse than Reputation, but the media started to like her again. And then the pandemic happened in 2020, and Taylor Swift responded by releasing two albums, Folklore and Evermore, that seemed custom designed for listeners to play in seclusion. The year after that, she released her first re-recorded LP, Fearless (Taylor’s Version), and followed it seven months later with the even more successful Red (Taylor’s Version). Then, the year after that, she put out Midnights, her best selling album since Reputation. Like that, Taylor was back up again.
The ongoing Eras Tour has offered near daily confirmation that Taylor Swift is the most dominant pop star of her time. And I think that has a lot to do with how she has framed her “classic” work in relation to her “current” work. To explain what I mean, I’m going to compare the biggest female pop star of the early 21st century to the biggest female pop star of the late 20th century.
Taylor Swift is presently situated 17 years from her first record, which means she’s in the same place as Madonna was in 2000 when she released her eighth album, Music. A chart-topping smash, Music sold three million copies and spun off two Top 5 hits, which indicates that Taylor’s run, while impressive, isn’t unprecedented. Madonna also stayed in the game over the course of several decades as a major pop player.
But let’s imagine that concurrent with Music Madonna also put out a re-recorded version of Like A Prayer, possibly her most iconic album of the ’80s. And let’s also imagine that the media did not regard this as they likely would have in the year 2000, i.e. as a nostalgia move repackaging distant glories. Instead, in this scenario critics frame the “new” Like A Prayer as a triumph that’s just as valid as her “actually new” work.
What I’m talking about here is cachet. In conversations about pop stars, cachet matters a lot. Cachet comes from the idea that you are relevant, and that your success is significant in terms of what it says about the overall culture. Which is another way of saying that pop stardom has as much to do with the perception of success as the reality of success. To make another analogy: The Rolling Stones play the same stadiums that Taylor Swift does, but the popularity of The Stones on the road is understood to be a valorization of the band’s history, not their current status.
Normally, we perceive an artist’s career moving forward in linear fashion. Then the hits stop coming, and the artist is forced to rely more and more on the past to maintain an audience. Sometimes, this is how pop stars are viewed even when the smashes don’t stop coming. When The Stones were roughly 17 years into their recording career, they had a major hit album in 1981 with Tattoo You. But they were still understood by most people to be a group that peaked in the 1960s and ’70s. And this inevitably affected how people thought about their new music. No matter how big they were in 1981, that bigness was seen more as a product of what they were than what they are.
(To anyone who reads me regularly: I am sorry to once again cite TattooYou as a reference! But it’s an album that explains a lot!)
This is the part about Taylor Swift’s career that is unprecedented. She has, rather brilliantly, convinced the public that her past and present coexist right now. She’s dismantled the former “new work vs. old work” binary for artists and replaced it with the “Eras” paradigm, where her songs are parceled into different concurrent channels that are equally accessible. It’s the same logic that streaming platforms have taught us, where all of music history exists in the same bucket. And Taylor Swift has figured out how to reprogram the public’s internal algorithm better than any of her competitors, so that her historical fame doesn’t count against her contemporary fame. Which is why I don’t expect her to fade anytime soon.
You recently had a viral tweet in which you joked about a new version of the Grateful Dead in light of Dead And Company’s recent decision to discontinue touring. But all kidding aside: Do you expect there to be a new iteration of the Dead in the near future? — Chad from Oklahoma City
If you listen to the band’s manager Irving Azoff, it’s definitely over. He told Pollstar last week that the recent health problems experienced by prodigal drummer Bill Kreutzmann, as well as “the rigors of 30-some nights with trucks and buses and airplanes and all the moving around,” prompted the band to reconsider their future on the road.
But he also said, and I quote (emphasis mine), “The touring parts are over, but there are still special events I’m sure will get offered to them, and you never say never. I’ve learned from managing the Eagles all these years that you never ask that question while the tour is going on. You’ve got to let them finish it, get some rest and get back to their lives and the future will bring what it brings.”
(How funny is it that Irving Azoff ended up managing both The Dead and The Eagles? Not that these bands in reality are all that different, business wise, but I’m sure this connection bummed out some Deadheads down on Shakedown Street.)
So, “the touring parts are over” but also … “you never say never.” What can we glean from this? Well, we know that the “core” members of The Dead are very old. But the two most spry guys, Bob Weir and Mickey Hart, are definitely not going to stop touring. And there is a supporting cast of younger musicians — Jeff Chimenti, Oteil Burbridge, Jay Lane — that now have the legitimacy of playing with a highly successful Dead satellite band. And then there’s John Mayer, who beat the odds and won over legions of Dead fans. (The man also has his haters in the scene, of course, but not enough to prevent any version of The Dead that he co-fronts playing arenas or stadiums.)
I find it hard — if not impossible — to believe that these spare parts (plus another ringer, like Joe Russo or Bruce Hornsby) won’t eventually reassemble into a new touring Dead juggernaut. If that happens, that new iteration will no doubt be hugely successful. And once that ends it will likely be followed by yet another new iteration. This is how it works. More than any band of their stature, The Dead have normalized the premise that they are a genre onto themselves, and that one day the music will be carried on without any of the original members. And this will happen because the real star of the Grateful Dead is not Jerry Garcia or Bob Weir or Phil Lesh or even John Mayer. It’s the audience. The audience shows up because they want the experience of being together in the presence of this band’s music. And, like the band, the audience is constantly replacing old members with new ones, spinning it forward as the long, strange trip continues.
Elon Musk hasn’t exactly been the most endearing businessman in the world in light of some of the head-scratching decisions he’s made since taking over Twitter. Jack White has been a vocal critic, and perhaps in light of his shifting opinion on Musk, he’s auctioning off his Tesla. (It could also just be because it’s a ten-year-old car and White wants it gone.)
The car is being auctioned as part of the Third Man Garage Sale through his Third Man Records label. The auction is ongoing now and as an announcement post notes, “Notable inclusions are the White Stripes-era Framus acoustic guitar that was used in the ‘We’re Going To Be Friends’ music video, Jack’s blue Ernie Ball St. Vincent guitar used on the Boarding House Reach tour, Third Man’s cheese-shaped vintage CitiCar used to deliver the World’s Fastest Record, gear from the Third Man Studio, props from the Consolers of the Lonely album shoot, Jack’s personal Tesla, among other vintage odds n’ ends and mechanical wonders.”
The auction notes for the car (a 2013 Tesla Model S Performance) from Third Man Records Archivist Ben Blackwell read:
“Whoa daddy. Ain’t no joke here, what you’re bidding on is Jack White’s personal Tesla model S. He called this car ‘The Green Machine.’ Thought to be the first model S in the state of Tennessee, this car long-served as White’s daily driver. The sound system figured prominently in the mixing of the Raconteurs’ 2019 album “Help Us Stranger” as shown in the attached video https://www.youtube.com/watch?v=3uTRNvDtVak as well as most other music White worked on during the roughly nine year period in which he used the vehicle. Original owner. Calming kelly green paint job. Pretty comfortable seats. Leather interior. Batsh*t crazy fast pedal-to-the-metal speed. No CD player. Does not come with Autopilot capabilities, because that sh*t is crazy dangerous. A respectable vehicle, classy and environmentally conscious. The right choice.”
Tucker Carlson’s Twitter show drew a non-trivial amount of eyeballs when it debuted in June, but viewership numbers have been dwindling since then. Still, he presses on, and on his latest episode shared yesterday (July 26), he was joined by Ice Cube, and the pair spent about a quarter of the 12-minute episode talking about the COVID-19 vaccine, specifically about why the rapper didn’t get it.
Carlson asked why Ice didn’t take the vaccine, noting he had “a direct order” to do so, and the rapper responded, “Yeah, I’m not real good with direct orders. […] No, it wasn’t ready. You know, it was six-month kind of rush job and I didn’t feel safe.”
Ice Cube explains Why He Didn’t Get Jabbed.
“There’s no repercussions if they’re wrong. But I get all the repercussions if they’re wrong.” pic.twitter.com/YrxB4jxySH
Carlson jumped in, “But they told you you were safe,” and Ice responded, “I know what they said [laughs]. I know what they said, and I heard them. I heard them loud and clear, but it’s not their decision. There’s no repercussions if they’re wrong, but I can get all the repercussions if they’re wrong.”
The host then asked if it was a tough choice for Ice to make and he said, “No, it wasn’t a tough call. I wanted to be an example for my kids, really make sure they wouldn’t take it either, show them that I want to stand on my convictions and that I was willing to lose $9 million and more because we’ve probably lost more since then.”
The part about losing $9 million refers to what he said in a 2022 interview: “I turned down a movie because I didn’t want to get the motherf*cking jab. I turned down $9 million. I didn’t want get the jab. F*ck that jab. F*ck ya’ll for trying to make me get it. I don’t know how Hollywood feels about me right now.”
Elsewhere in the Carlson conversation, Ice noted he never intended for his vaccination status to be a matter of public concern, saying, “I never told anyone not to get vaccinated publicly. That was never my message to the world. I didn’t even want people to know whether I got vaccinated or not. I was pretty upset that that even came out, because I was just gonna quietly, you know, just not take it and deal with the consequences as they came.”
Carlson, for the record, proudly proclaimed he didn’t get the vaccine either: When Ice asked if he got the jab, the host exclaimed, “Of course not!”
It’s been 12 years since the late Kobe Bryant shut down the Drew League in a wild game where he scored 45, including the game-winner, to top James Harden’s 50-point performance.
DeMar DeRozan was also part of that game, and in a recent appearance on the Iman Amongst Men podcast with Iman Shumpert, he was asked for his favorite Kobe memory and went to that game. However, the game-winner from Kobe wasn’t even the part that stuck out most to him, but something that happened three minutes of game time before that, when Bryant refused to leave the game at the request of the police there who wanted to get him out before the masses of people in the gym swarmed him at the end of the game.
As DeRozan recalled, police approached Kobe and suggested he leave, which he declined, and then he fully embraced the crowd after knocking down the game-winner, getting swarmed by fans as they poured out of the bleachers and onto the court as he stood, arms raised, in triumph. It is an incredibly cool moment and one that might not have happened with a different superstar. It’s hard to emphasize how big Kobe was in Los Angeles in 2011, a year removed from leading the Lakers to another championship. Some might’ve taken the advice of the police in the gym that day and dipped out early to avoid the craziness at the end, but Kobe wanted to feel that energy and delivered a game-winner just to ensure it was as crazy as possible.
Beyoncé’s Renaissance Tour is still going strong. It was reported last month that the “Break My Soul” performer contributed to country-wide inflation in Sweden with her concert stop, with data showing a 0.3-percent rise from April to May sparked by “a broad set of goods and services, for instance, hotel and restaurant visits” and “recreational services.”
Something similar is taking place in Chicago after Beyoncé performed there on July 22 and 23 at Soldier Field. A news anchor discussed it on Fox 32 Chicago, saying, “It isn’t just fans basking in the glow of Beyoncé’s Renaissance Tour, Yelp Data shows hotels, restaurants, shops, beauty salons all saw a huge spike as well, especially Black-owned businesses.” Statistics were displayed, showing Beyoncé search trends in the Illinois city. Hotels and travel are up 20%, shopping is up 17%, restaurants is up 14%, and beauty services is up 5%.
More statistics show that cosmetics and beauty stores are up 7%, eyebrow services are up 9%, nail salons are up 2%, shoe stores are up 9%, and men’s hair salons are up 4%. For Black-owned businesses, beauty and spas are up 12%, hotels and travel are up 31%, women searches for hotel and travel are up 44%, LGBTQ+ searches for nightlife are up 2%, and restaurants are up 2%.
Once upon a time, Ron DeSantis was supposed to be the younger, fitter, more disciplined Trump 2.0. Those were the days, my friend. Ol’ Pudding Fingers has spent months lagging way, way behind the GOP’s presumptive 2024 presidential nominee, who’s also his state’s most famous resident. (At least he won’t call him Meatball Ron.) Things are so bad that he’s had to gut his campaign staff. But at least one fired employee seems to have deserved his fate.
As first reported by Semafor, among the firees was Nate Hochman, who had been seen as a rising star in today’s extra-combative far right. He even left The National Review to join DeSantis’ team as a speechwriter. He also retweeted multiple pro-DeSantis videos from their Twitter account DeSantisCams.
But on Tuesday Hochman was out. The campaign wouldn’t say why, but some speculated it might be because he shared another pro-DeSantis video over weekend that was even more alarming than the anti-LBTQIA+ one they shared a few weekends ago. After all this one, boasted Nazi imagery.
The video finds a “wojack” character, depressed by Trump’s record, finding a new hope in DeSantis. It’s all well and good — which is to say it’s terrible in a mediocre fashion — until the end, when the seal of Florida transforms into the Sonnenrad, or the Black Sun symbol originated in Nazi Germany and later used by Neo-Nazis. Under the Sonnenrad lies DeSantis surrounded by soldiers marching in formation.
Hochman later deleted the video. It’s unclear who made it, though Axiosreported that he did.
Did the DeSantis team not want one of the staffers outright comparing him to Adolf Hitler? Was that too much even for someone who suppresses free speech and tries to the power of the state to crush those he doesn’t like? They won’t say, but it’s another sign that this might not be DeSantis’ time.
The experience takes place from July 28 to 30, and the music is split into four stages: the Fort Stage, the Quad Stage, the Harbor Stage, and the Foundation Stage. Check out the full set times below, organized by stages.
Fort Stage
Friday, July 28
11:25-11:55 — Laden Valley
12:25-1:20 — Eastern Medicine Singers with Yonatan Gat and Lee Ranaldo
1:50-2:50 — Del Water Gap
3:20-4:20 — Caamp
4:55-5:55 — Maggie Rogers
6:30-7:45 — My Morning Jacket
Saturday, July 29
11:25-11:55 — The Huntress And The Holder Of Hands
12:25-1:20 — Danielle Ponder
1:50-2:50 — The Backseat Lovers
3:20-4:20 — Goose
4:55-5:55 — Jason Isbell And The 400 Unit
6:30-7:45 — Jon Batiste & Friends
Sunday, July 30
11:25-11:55 — Dan Blakeslee
12:25-1:20 — The Earls Of Leicester
1:45-2:45 — Black Opry Revue
3:15-4:15 — Los Lobos & Friends 50th Anniversary
4:55-5:55 — Lana Del Rey
6:30-7:45 — Billy Strings
Quad Stage
Friday, July 28
11:05-11:50 — Free Range
12:15-1:05 — The Beths
1:30-2:20 — Mdou Moctar
2:50-3:40 — Thee Sacred Souls
4:10-5:10 — Nickel Creek
5:40-6:40 — Noah Kahan
11:05-11:50 — The Harlem Gospel Travelers
12:15-1:05 — Jupiter And Okwess
1:30-2:20 — Madison Cunningham
2:50-3:40 — Remi Wolf
4:05-5:05 — Gregory Alan Isakov
5:35-6:35 — Folk Family Revue feat. Robert Ellis, Beau Bedford & Phil Cook
Harbor Stage
Friday, July 28
11:00-11:40 — Ron Gallo
12:00-12:45 — Peter One
1:10-2:00 — Bella White
2:25-3:20 — Slaughter Beach, Dog
3:45-4:40 — The Heavy Heavy
5:05-6:05 — Heavy Make Up
Saturday, July 29
11:00-11:40 — Willi Carlisle
12:00-12:45 — Jaime Wyatt
1:10-2:00 — Alice Phoebe Lou
2:25-3:20 — Indigo De Souza
3:45-4:40 — John Oates featuring Guthrie Trapp
5:05-6:05 — Aimee Mann
Sunday, July 30
11:00-11:40 — Senora May
12:00-12:45 — Sumbuck
1:10-2:00 — Abraham Alexander
2:25-3:10 — Mereba
3:45-4:40 — M. Ward
5:05-6:05 — Dawn Landes & Friends Perform The Liberated Woman’s Songbook
Foundation Stage
Friday, July 28
10:00-11:00 — Open Mic
11:00-11:25 — Joan Caddell & The Midnight Choir
11:55-12:20 — Rainbow Girls
1:20-1:45 — Choir School Of Newport County With Special Guests
2:50-3:15 — Sistastrings
4:20-4:45 — Mon Rovia
Saturday, July 29
10:00-11:00 — Open Mic
11:00-11:25 — The Gospel Of The Hold Steady: In Conversation With Ryan Walsh
11:55-12:20 — Chance Emerson
1:20-1:45 — Jobi Riccio
2:50-3:15 — Adam Gaffney
4:20-4:45 — Erin Rae
10:00-11:00 — Open Mic
11:00-11:25 — Sheroes Radio
11:55-12:20 —Grace Bowers
1:20-1:45 — Tiny Habits
2:50-3:15 — Tommy Prine
No doubt you’ve seen people reacting to TikTok’s “aged” filter, which shows users what their face might look like many years into the future. It uses the same AI technology that creates those mind-bogglingly realistic beauty photos with zero imperfections or signs of aging, but turns the concept on its head. Less glam, more gray hair and wrinkles.
Generally speaking, the reactions have been…less than welcoming. From celebrities to beauty influencers to just regular folks, this filter has unlocked some deep-seated fears and shame towards aging that continue to exist no matter how much we shout the mantra of “SELF LOVE” from the rooftops.
However, a 5-year-old girl is having the time of her life “aging” herself up, and it’s every bit as refreshing as it is wholesome.
In the clip, which has already racked up over a million views on TikTok, the girl shoos mom out of the way before impersonating a granny.
Not just any granny, but “Rita,” an old lady persona that the cartoon character Bluey puts on as a game with her sister Bingo, who goes by “Rita” during their play pretend time. Yeah, she’s impersonating an impersonation. Meta.
“What did ya say Rita..? Pass me my glasses,” she says in her best old lady voice, squinty eyes and all, followed by countless giggles.
“The way she knew exactly what to do with this filter. 95 and 5 all at once,” her mom wrote in the video’s caption.
For both this little girl and the granny segments from “Bluey,” the dread and disgust is replaced by pure joy and a playful embrace of life’s later chapter.
Sure, there’s the argument that it might feel a lot more “fun” just pretending, rather than actually experiencing the effects of growing older. But there are also plenty of people in their Golden Years who report feeling healthier, more confident and more fulfilled, so our attitudes toward aging, deeply ingrained as they are, aren’t completely accurate.
And perhaps more importantly, can we just not let a filter ruin our day? No matter how realistic it might be, it still doesn’t necessarily predict the future. So why not do as the kids do—throw on a granny voice and simply enjoy seeing ourselves through a different lens. It all has value.
Childless women in the public eye are often plagued by the question: “So, why don’t you have any children?” It’s a deeply personal question that cuts right to the bone, and there can be many answers. But, if the woman doesn’t want children and says so publicly, she is bound to face some judgment.
“[I don’t] like [the pressure] that people put on me, on women—that you’ve failed yourself as a female because you haven’t procreated. I don’t think it’s fair,” Jennifer Aniston told Allure. “You may not have a child come out of your vagina, but that doesn’t mean you aren’t mothering—dogs, friends, friends’ children.”
On the Monday, March 6 episode of “The Diary Of A CEO” podcast, host Steven Bartlett asked actor Seth Rogen about why he’s childless, and it was a rare moment where a man in the public eye was challenged on the topic. Rogen gave a thoughtful explanation for his and Lauren Miller’s decision to be child-free.
Rogen and Miller were married in 2011.
“There’s a whole huge thing I’m not doing, which is raising children,” Rogen told Bartlett. The host attempted to play devil’s advocate and asked Rogen if he considered whether having children might have made him and his wife “happier.”
Then, as if anticipating the question, the “Pineapple Express” star upended one of the arguments that people who have children often make: that people who don’t have children have no idea what it’s like.
“I’ve been around obviously a lot of children; I’m not ignorant to what it’s like…Everyone I know has kids. I’m 40, you know? I know,” Rogen said. “Some of my friends have had kids for decades. Some people want kids, some people don’t want kids.”
He added that many people seem to have kids without considering the issue.
“I mean, a lot of people have kids before they even think about it, from what I’ve seen, honestly,” he said. “You just are told, you go through life, you get married, you have kids—it’s what happens.”
Rogen and his wife have only grown stronger in their decision and they believe that it has helped their relationship.
“Now, more than anything, the conversation is like, ‘Honestly, thank God we don’t have children,’” he continued. “We get to do whatever we want.”
“We are in the prime of our lives. We are smarter than we’ve ever been, we understand ourselves more than we ever have, we have the capacity to achieve a level of work and a level of communication and care for one another, and a lifestyle we can live with one another that we’ve never been able to live before. And we can just do that, and we don’t have to raise a child—which the world does not need right now,” Rogen concluded.
Everyone has the right to choose whether or not to have children, and no one has the right to judge them. Rogen and Miller have thought their decision through and should be applauded for living how they see fit. It’s cool to see Rogen with such a thoughtful opinion on the matter. It’d be even cooler if celebrities never had to discuss the topic in the first place.
This article originally appeared on 3.9.23
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