The ?nice? part may well be engineered by the documentary, of course: All of Perry?s on-screen interactions with intimates, especially a painfully stiff visit to her grandmother, feel as phony and staged as the post-show meet-and-greets with her fans, and we?re left with zero sense of what she?s really like as a granddaughter, sister, boss, or friend. As for the ?Christian? part, it matters to Perry?s career in a way I hadn?t realized before: The daughter of traveling Pentecostal ministers, she began singing in church and put out a gospel album at the age of 16. (In a few clips of Perry from this period playing acoustic guitar, you can hear what her voice sounded like before it was accompanied by a wall of in-studio production sound?it?s sweet, tuneful, but not particularly distinctive.) Perry?s parents appear, briefly, to lament their daughter?s often-revealing costumes and risqu? persona, but they also seem proud of her success. And as for ?pretty?: Well, the good Lord has endowed Perry with porcelain skin, raven locks, and a pair of huge blue eyes that rival Zooey Deschanel in their sheer Japanimation cuteness. She also has a Barbie body, at once lithe and voluptuous, perfect for the retro-fairy-tale-princess costumes she?s known for sporting on stage (one whole number revolves around spectacular costume changes, with one ice-cream-hued creation succeeding the next in seemingly endless layers). But as easy on the eye as Perry is, moving gracefully on stage is not her forte; in front of her crew of professional backup dancers, her modest gifts as a dancer are starkly apparent. I found myself looking forward to the rare moments when she would just stand at the microphone and sing.
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