Deconstruction of a Midwest Princess
By Sam Everton
The Chappell Roan experience is a relatively new phenomenon. After a turbulent journey of heartbreak and tragedy that began in 2014, her 2023 album The Rise and Fall of a Midwest Princess garnered critical acclaim from reviewers and listeners alike. But the question remains as always: does it live up to the ubiquitous praise? I was certainly skeptical of this album's ability to do so, and after listening my feelings on the matter have been confirmed and denied.
For starters, the album immediately sets expectations off on the wrong foot with a name like The Rise and Fall of a Midwest
Princess. It invokes the image of a grand adventure not unlike David Bowie’s very own The Rise and Fall of Ziggy Stardust and the Spiders from Mars. I didn’t find anything confirming my suspicions, but I’m certain the comparison is not lost on Ms. Roan–if it’s not
intentional. This feels especially true since Roan is positioning herself as a queer icon, much like the late David Bowie. While the album certainly contains aspects of Roan’s own midwest princess experience, the project itself is barebones on the promise of a grandiose adventure it immediately sells us. This can be disappointing, and I know I certainly was.
While the album title may be a distracting misnomer, it is also abounding with charm that makes up for such a blunder. There are little things that draw me in towards songs even if I’m not particularly fond of them. “Femininomenon” is a rather bad first impression for the album to make with its substandard lyricism, abysmal chorus, and Lil Dicky type skit, but the instrumental is quite fun and the running gag with the beat is rather endearing. “Red Wine Supernova” has none of these crippling issues (although there’s like one of two questionable lyrics) which bolsters the charm of the catty female chorus that pops up on occasion. Another aspect of this album’s charm is the bravery with which it tackles uncomfortably raunchy subject matter. “Casual” is perhaps the most sexually explicit song
I’ve ever listened to, and while at first I detested its uncomfortable recounting of intimate encounters I have now grown to appreciate the unfiltered emotion Roan expresses on this track. Similar showings are present on “Coffee” and “My Kink Is Karma”, leading them to be some of my favorite songs off the album. Something rather unfortunate and annoying is that the lyricism is strange and inconsistent. For every lyrical moment that’s fun or striking–such as the chorus to “Super Graphic Ultra Modern Girl” or the entirety of “Coffee”–there’s another moment that’s cringy or horrid. Two examples that immediately come to mind are the chorus to “HOT TO GO!” and the uncomfortable sexual moans in “My Kink Is Karma,” but there are so many more examples of this. The chorus to “Femininomenon” is horrid, “Red Wine Supernova” has this painfully juvenile bridge about magic and getting squeaky, “Casual” has its bridge ending in this awful punchline, “Kaleidoscope” has an agonizingly boring simile at its lyrical core, you get the point. It’s a shame too because these little moments taint what would otherwise be enjoyable, fun tracks (for the most part).
One last criticism is that the last third of this album plummets in quality. I find “Kaleidoscope”, “Pink Pony Club”, “Naked In Manhattan”, “California”, and “Guilty Pleasure” to all be incredibly unremarkable. These songs are plagued with boring lyrics, boring subject matter, and boring instrumentals. You’d think these songs were euthanized with how little life is left in them.
Ultimately, Chappell Roan created a generally fun party album rife with issues that seriously hamper my enjoyment of it. The album has a huge consistency problem, not only from song to song but also within the songs themselves as Roan the lyricist attempts to flounder her way through the waters of artistry. If you can turn your brain off and gloss over the more questionable aspects of the album, then you will enjoy this album more than me.
6.5/10 – Fun but definitely flawed
**A Journey for Justice: The Tale of Steven Kabuye**
In the land where the Nile begins its flow, Lies a tale of a man whose name you should know. Steven Kabuye, with a heart brave and true, Fought for love's right, in a world askew.
In the dawn's light, on a day so stark, Hatred's blade aimed to silence his spark. "Die you homosexual," they screamed with hate, But Steven ran, defying that fate.
With blood as ink, and pain his quill, He penned a plea, his voice to instill. From Namulundu's care, to Nairobi's embrace, He sought refuge, a safe space to trace. .
The Rainbow Railroad, a beacon in night, Guided him to lands where rights shine bright.
Toronto's arms opened, then Vancouver's coast, In Canada's expanse, he found hope's host.
Yet, freedom's a myth, where hate still breathes, In Uganda, Kenya, it lies and seethes. For being queer, a perilous life, Marked by violence, cut by strife.
But Steven's tale, a testament stands, To the fight for justice in all lands. His name, a chant, a call to rise, For love's pure cause, it never dies.
So read his words, feel his plea, In this zine, his truth runs free. For every page, a step to mend, The world's heart, until the end.
