The Internet’s favorite sensation Lilly Singh gets real about the lack of women in comedy and why there are absolutely no shortcuts to viral fame.
LILLY SINGH COULD WELL BE CLARK KENT. THE SOCIAL MEDIA sensation who goes by the moniker of Superwoman has a quiet, dependable strength that Superman’s alter-ego is famous for. There’s also a sense of resilience that we’re not privy to when she’s on YouTube or onstage. It’s interesting that while the boisterous Superwoman was the one who saw methrough a lot in all the years I’d been a fan as a young adult, it’s Singh who makes the grander impression when we finally meet.
The Indo-Canadian YouTube sensation claims she’s more unicorn than human, and is effortlessly professional from the moment she arrives on the set for the cover shoot. For someone who has the world eating out of her hand, Singh is unfussy about everything (“A regular Margherita is good, thank you”) and rarely ever gives the dutiful support staff a chance to fuss over her.
Superwoman simmers just beneath the surface, making appearances between flashes of the camera and then again when a couple of pre-teen fans visit the set. It quickly becomes apparent that while Superwoman is the one with the powers, Singh is the true hero. “Superwoman is a performer,” she says when we sit down for a chat after the shoot. “Superwoman is onstage, so she’s super loud, super animated, never gets tired and never feels scared. Lilly... is the business owner. She does get nervous sometimes, she gets scared and she gets tired. So personality-wise they’re very similar but of course one is the performer and the other is the backbone of the business.”.”
Bu hikaye RollingStone India dergisinin May 2017 sayısından alınmıştır.
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Bu hikaye RollingStone India dergisinin May 2017 sayısından alınmıştır.
Start your 7-day Magzter GOLD free trial to access thousands of curated premium stories, and 9,000+ magazines and newspapers.
Already a subscriber? Giriş Yap
DANCE-FLOOR BLISS AND THE SEARCH FOR (POST-) HUMAN CONNECTION
Over the course of roughly a decade, CARIBOU, the electronic-leaning project from Canadian musician and composer Dan Snaith, has released intricate, sonically inventive records that cradle rhythm and history. On \"Home,\" from 2020's Suddenly, he coos softly alongside a frenetic flip of Gloria Barnes' 1971 single of the same name. There, the subtle cracks and gestures in his voice manage to breathe life into the digitally-manipulated sample. Caribou's music has so far thrived on this quality — Snaith's seemingly boundless musical curiosity and his ability to crystalize big ideas into euphoric moments of dance-floor bliss. It's why his choice to use artificial intelligence on his vocals for his latest album, Honey, feels like a misstep. Here, Snaith's voice is transformed in character and identity, at times creating revelatory moments, like on \"Come Find Me,\" where he's reimagined as a treacly-toned young woman, though in small enough doses for it to work. Elsewhere, like on the rap-adjacent \"Campfire,\" where Snaith renders himself as the sort of rapper you might hear on a Caribou track (think Definitive Jux vibes), the concept breaks down.
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TINASHE 'I'VE BEEN IN THE GAME 10 YEARS.I'M NOT NEW TO THIS.I'M TRUE TO THIS'
The singer reached a new peak when her song ‘Nasty’ went wildly viral. Now, Tinashe is energized and ready for more