She has asked aloud, including in therapy, “What if people don’t think I’m as interesting as Cindi Mayweather?” She’ll miss the freedom of being the android. Monáe does worry that the human behind her masks may not be enough. “Our stories are being erased, basically,” she says of her attachment to those scripts, which made her “want to tell my story.” In both films, she tackles black American stories that don’t typically get the big-screen treatment.
#PAINTED ROSE PUZZLE PERSONA Q MOVIE#
Monáe is the CEO of her own label, a CoverGirl model and a movie star, appearing in the Oscar-winning Moonlight and the Oscar-nominated Hidden Figures, two hits led by black casts.
(The actress has been rumored to be Monáe’s girlfriend, though Monáe won’t discuss her dating life.) The original title of “Q.U.E.E.N.,” she notes, was “Q.U.E.E.R.,” and you can still hear the word on the track’s background harmonies. In the 45-minute film accompanying Dirty Computer, “Mary Apple” is the name given to female “dirty computers” taken captive and stripped of their real names, one of whom is played by Tessa Thompson. She cites “Mushrooms & Roses” and “Q.U.E.E.N.,” two songs that reference a character named Mary as an object of affection. “If you listen to my albums, it’s there,” she says. She always ducked questions about her sexuality (“I only date androids” was a stock response) but embedded the real answers in her music. Years before Frank Ocean, Solange, Beyoncé and SZA pushed arty, alternative R&B to the mainstream, Monáe was already there, bridging the gap between neo-soul and all that was to come, unafraid to fuse rock, funk, hip-hop (when she feels like it, as on her recent single “Django Jane,” she’s a top-flight rapper), R&B, electronica and campy, drama-kid theatricality. The ArchAndroid was a buzzy introduction, and 2013’s Electric Lady – certainly the first progged-out concept album in the history of Bad Boy – established her as one of the 21st century’s most inventive voices. She became a pop anomaly, a sometimes incongruous interloper in the universes of her earliest supporters, Big Boi and Puff Daddy, the latter having signed her to a partnership with Bad Boy Records in 2008. So she overcompensated, as she puts it, leaving fans to puzzle over the sight and sound of a dark-skinned, androgynously dressed black woman creating Afro-futuristic fantasias as trippy as the Parliament-Funkadelic soundscapes she grew up hearing. “I was like, ‘Before I self-destruct, before I become a confused person in front of the world, let me seek some help.’ I was afraid for anybody to see me not at the top of my game. It’s one of the many reasons she thought she had a “computer virus” that needed cleaning, which led her to years of therapy, starting before the 2010 release of her debut, The ArchAndroid. She is also a perfectionist, a tendency that’s helped her career and hindered her emotional life portraying a flawless automaton was also a bit of wish fulfillment. “All I saw was that I was supposed to look a certain way coming into this industry, and I felt like I look like a stereotypical black female artist.” “It had to do with the fear of being judged,” she says. And if you ever get stuck there are shortcut tiles on the bottom right and left sides of the room.Early in her career, Monáe was insecure about living up to impossible showbiz ideals the persona, the androgynous outfits, the inflexible commitment to the storyline both on- and offstage, served in part as protective armor. Then you just need to get out of the way and you can continue on.ĭon't forget to get the shortcut to the right of the staircase. If he is not there the soldier on the left side of the room will make it to these roses first and you will need to start over.
This answer will assume you are starting with the soldier on the right. This puzzle is symmetrical so this method will work in either direction.
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