As you all know because she can’t stop talking about it, America’s favorite cotton candy butterfly Katy Perry is undergoing a bit of a metamorphosis at the moment, graduating from carefree, saccharine pin-up to mature post-vaporwave social justice warrior.
It was, of course, the election of Donald Trump that spurred her to drop the antics. Her latest single, “Chained to the Rhythm” is a critique of rose-colored glasses, white picket fences, and other sheeple cliches. It cemented her place as a person who understands that maybe the world isn’t always what it seems. We’ve all been grieving over the election in our own ways.
But we are not done talking about her dramatic transformation from pop princess to pop Guy Fawkes. In a new interview with Vogue, Perry details all the little reinventions she has undergone in her journey toward wokeness. While it is certainly interesting to learn about how her evangelical Christian upbringing affected her and her response to Trump’s election after doing so much for Hillary Clinton’s campaign, the woman sounds like she just watched Fight Club for the first time. (Also! It’s weird that people are calling her “political” now when she’s been very outspoken about American politics and voting. I guess she was still operating within the SYSTEM.) It’s...endearing I guess? But it also makes you feel absolutely nothing because she’s still a massive pop star who unabashedly loves Disneyland! Here are a few choice cuts from the interview.
On the Rei Kawakubo pieces that she wore for the Vogue photoshoot and mind sex:
“These clothes, honestly, are walking pieces of art,” she adds, serious now. “It’s the redefinition of sex; the sex of the mind.”
On transcendental meditation:
“It’s a game-changer,” she insists. “I will feel neuro pathways open, a halo of lights. And I’m so much sharper. I just fire up!”
On the “Chained to the Rhythm” music video and its amusement park theme:
The rides are metaphors for such contemporary concerns as the mortgage and loan crises, the poisoned-water catastrophe in Flint, Michigan, and “the addiction we get from posting and curating our lives on social media to look like they’re perfect, when they’re not,” as Perry notes.
On putting messages in her songs:
“I’ve seen behind the curtain,” she says, “and I can’t go back. I used to be the queen of innuendo, everything done with a wink,” she adds. “Now I want to be the queen of subtext—which is a cousin to innuendo, but it’s got more purpose.”
It’s like she stared into the abyss and the abyss stared back and was like, “‘Dude, real eyes realize real lies.’” And she was like, “Dude, yeah.”