Reputation was the stadium spectacle Pop 2 was the queer party. In the mean-time, Charli was throwing Pop 2 concerts and sweaty, tiny 200-person club nights on the side in major cities: the songs and atmosphere couldn’t have been more different. If I was Charli I’d cancel the rest of my meet and greets and replace the entire setlist with Boom Clap 17 times that’s what gays deserve
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Her set was restricted to early hits and the break-through moments like ‘Boys’, missing the fan-favourites in favour of ‘Boom Crap’, as it was written on the setlist. 1 Angel and Pop 2 - positioned her as “the future of pop”, an artist whose vision proved too eclectic for radio play but perfect for pioneers.Ĭharli seemed caught in a cross-roads best exemplified by her support slot on Taylor Swift’s reputation tour last year. Cook and other hyped-pop producers crystallised the party-fuelled personality found across her music. Speaking on …And The Writer Is podcast, Charli expressed a deep dismay and frustration throughout her career of having the music she doesn’t care about blow up, and her babies wither in relative obscurity.Ĭritical acclaim and cult status began in 2016 with the release of Vroom Vroom: working alongside A.G.
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Meanwhile, her biggest song to date, ‘Boom Clap’, is openly detested by Charli and her fanbase. But Why Is It So Bad With Charli, Baby?Ĭharli XCX’s career and persona has positioned her uniquely as a near-perfect pop-star for a rabid queer fanbase. An underdog through and through, Charli has continually found most success outside of her own music.Ī talented songwriter, Charli’s biggest hits have continually been performed by other artists, including ‘Señorita’, or merely feature her, such as two of 2013’s biggest songs (‘Fancy’, ‘I Love It’). Given that many queer men live and die by these artists whose music is an integral or vital part of their own queerness, their standom often breeds a more innocuous misogyny, where we speak over women with our passion.
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she's not some prop you can milk sexual jokes out of, stop harassing her and learn how to be considerate. I hope that person who asked charli xcx to hold poppers up to his nose and sign his douche apologizes to her because that's such a weird and disgusting way to treat her. Years later, people are still tweeting #Justice4ArtPop and #Justice4Bionic, which seems crueler than it is kind, especially when it’s impossible to tell whether their enjoyment is ironic or sincere (this author is not immune). If Jepsen can do anything and be a queen, anything she actually does is irrelevant to the act of ‘stanning’ - even failures, which can be seen in the way queer men are always saying someone like Stephanie McKintosh or Heidi Montag invented and saved pop.įor O’Flynn, calling a pop-star a ‘queen’, ‘skinny legend’ or ‘icon’ is incomparably linked to the more negative ‘flop’, as the irony is too palpable.Īs he notes, these stan bases are often most belligerent when they feel the artist or album is ‘underrated’, critically or commercially. Why Charli XCX And Carly Rae Jepsen Chase Cult Success, Instead Of The Charts When Carly Rae Jepsen is called the “queen of orange wallet” or “queen of standing”, it’s both a pure expression of love and somewhat disparaging. While queer and ballroom lexicon and AAVE (“yasss”, “queen”, “slay”) have long been adopted by the masses, those terms of worth and endearment are co-opted and tinged with an ironic distance when used by stan bases. Must be cool to be charli xcx and have a significant part of your success contingent on pretending to feel comfortable around the most insufferable fanbase on earth with the lowest comprehension of basic boundaries “Heckling in smoky nightclubs has been replaced by ‘hate memes’,” he writes, “when stans circulate unflattering edited pictures or examples of a star’s least-becoming behaviour, while the cheering has morphed into a lexicon of superlatives and put-downs that may seem impenetrable to the uninitiated.” Once we may have merely ventriloquised women’s voices as our own now, we speak over them, continually arguing over ‘flops’ and ‘bops’, or laughing at their ‘less successful moments’. Where queer men have long found a voice through worshipping a pop-diva articulating a femininity they can’t explore, O’Flynn argues, this relationship, already complicated, has grown increasingly toxic over time. Last year, Guardian‘s Brian O’Flynn wrote an exceptional piece about misogyny underpinning the way gay fanbases can interact with female pop-stars.