For the Love of Kesha
Posted by Derek Berry
If you’ve heard me perform spoken word poetry set, you probably know I’m infatuated with The-Artist-Formerly-Known-As-Ke$ha. In “Ode to Ke$ha,” I wrote, “Who are you Ke$ha/ child of Los Angeles, food-stamp-subsister/ and perfect SAT student? Is this/ glitzed mask anything more than/ quiet genius, a woman’s willingness/ to speak in a world that tells her she cannot?”
Kesha Rose, while masquerading as a pop artist, curates through her musical repertoire a series of thought-provoking social critiques and self-love anthems. The predecessor to artists such as Carly Rae Jepsen and the spiritual successor of artists like Avril Lavigne, Kesha translates trite emotionalism into a more transcendent message, whether that be about love, break up’s, oral sex, or the predatory tactics of paparazzi.
Kesha Rose’s genius manifests when she reverses the paradigm of the male gaze in pop music. While Top 40 hits typically frame women as willing sex objects, subjects of desire designed to appease the sexual appetites of men, Kesha’s music– particularly her song “Disco Stick”– evokes similar images of men submitting sexually to women. She disguises an intelligent critique of pop music misogyny in a crass package. But the subversion of patriarchal pop music is just one of Kesha’s specialties. In “We Are Who We Are,” she affirms her support for LGBT rights and queer individualism, doubling down in 2016 during the contentious 2016 Presidential election.
Freshly-dubbed Kesha Rose has returned this week with a new song and accompanying music video “Praying,” a first glimpse into her upcoming album Rainbow. “Praying,” Kesha’s first solo release in four years, explores loss of faith and the tumultuous relationship with a former friend– who one suspects to be Kesha’s former producer and abuser Dr. Luke. The song is either a condemnation of Dr. Luke’s actions (in a recent court case, Kesha alleged that Dr. Luke sexually abused her and subsequently manipulated her creative control to prevent her from releasing music) or forgiveness. Perhaps a mixture of both.
I was H Y P E when I saw Kesha had released not only a soulful banger but also an absurd-yet-poignant music video. Dr. Luke abused Kesha to the point that she claimed she almost lost her life because it. Artistically and personally constrained by past drama, Kesha could not release solo music for more than four years. But y’all.
Kesha’s back, y’all. Kesha’s back.
I believe Kesha Rose has long been underappreciated and maligned by media acolytes of the twenty-first century. They have misconstrued Kesha Rose as crass and banal, while her catalogue actually boasts a buffet of that good good.
And with her newest album Rainbow, I hope Kesha Rose gets the love she deserves.
About Derek BerryDerek Berry is a novelist and spoken word poet. Derek is the author of Heathens and Liars of Lickskillet County (PRA Publishing, 2016). He co-founded and organizes The Unspoken Word, a literary non-profit based out of Charleston, SC, which provides an intendent home for the poetic arts through regular readings, workshops, and community fundraisers. He is on the Executive Board of the Charleston Poetry Festival, the inaugural production of which will be Fall 2017. His work has appeared in The Southern Tablet, Cattywampus, Charleston Currents, Illuminations, RiverSedge, and other journals.He has performed in venues across the United States and Germany. He has worked as a photographer’s assistant, busboy, and bookseller. He currently works at a curation facility for Cold War History.
Posted on July 7, 2017, in music, Reviews, Writing and tagged album, avril lavigne, Carly Rae Jepsen, feel good pop music, gay, gay rights, Ke$ha, Kesha, Kesha Rose, LGBT, Love, music, music opinion, opinion, oral sex, patriarchy, pop music, praying, praying music video, presidential election, Rainbow, self love, sex, single, Top 40, video, we are who we are, writing. Bookmark the permalink. Leave a comment.