Leather and Glitter

That’s the Way Trump Goes

From Variety in 2018, regarding Roseanne:

“In her final tweet Tuesday morning, she apologized to Jarrett and soon after, her hit ABC show was canceled and she was dropped by her talent agency.

At the end of a day flooded by Roseanne news, which included various networks pulling reruns of the original Roseanne and several of the show’s co-stars and executive producers denouncing her comments, Barr again tweeted an apology.”

Apologies…

Coming from Hall of Fame icons. Pop stars and comedians. Always fake news? Well, yes.

Con artists do not apologize. Top 40 stardom and 100 millions albums sold tallies do not lend themselves to saying sorry. And any artist or public figure who has reached the Billboard charts, won Grammy awards, and (oh) headlined the Super Bowl has to be a con of sorts. For one, many TV shows (especially internationally) and televised performances, including the Super Bowl, cannot accommodate live singing with a live band. Lip synching in and of itself is the ultimate con, and yet neither Janet Jackson nor Britney Spears (nor Jennifer Lopez, nor Mariah, nor Beyonce, nor Ashlee Simpson) can be accused of fraud. These are with the Performance Art Rules Book sphere; any post modern singer has the right to represent their recordings and persona rather than truly present them.

And therein lies the rub. We expect Janet Jackson to present herself, in this context, as what the woke contingent demands, assumes and even presupposes of Janet, the human being. The former Jehovah’s Witness, current Christian, ailing from Tito’s death and managed by Randy. By way of Joseph.

The indignant screaming from the left over Miss Nasty’s remarks on Kamala’s race is in itself inherently racist. A black 50-something, almost 60-something multimillionaire who has worked the Vegas stage since age 7 is not excited about Harris.

Blackness has been an issue for Janet. Solidifying credibility within the ghettoized “black radio” and “black TV” (“Different Strokes,” her first two records, “Good Times,” and later Tyler Perry movies) genres of the late 1970s and early 1980s, her place within the pantheon of Afro American superstars is undeniable. But she truly captured platinum hits through white America’s support of her unbelievably funky Classic charcuetrie board of soul pop and funk, “Control.”

PART 2 COMING