Wikipedia: She likes shopping and she is a showboat. Daisy Duck is popular among women though she has made relatively few appearances in media compared to Mickey Mouse and Donald Duck.
[Video]
[4.67]
Mark Sinker: A decade and a half ago, round the time the too-wised-up were trying to argue that in gangsta-bling message and also in form, hiphop had irrecoverably become the universal go-to vector for capitalism triumphant, one key proof of concept was apparently that its rhythms and techniques were just, well, everywhere. But the problem with “everywhere” as a QED was that this included regions whose easy-read symbolic status at a distance too often erased the facts of local cultural-political disputes (a couple of manifestations at the time being Iranian and Polish rap — what did they “mean”? Only a fool would want to generalise: no dumb guessing till you speak Farsi or Polish or better still both…). On one hand this tendency is clearly today exacerbated: like reggae before it, the rhythms of rap present themselves as the global lingua franca, the dimming dream of the one-love utopia delivered via a proto-tongue everywhere (“everywhere”) turned gutterally anti-respectable and cosplay refusenik. And these are archetypes that power will exploit. On the other, the proto-tongue is just so cheekily and blatantly trashy now sometimes (as here: break-out blonde YouTube minx leans into every cliche that jumps a language barrier) that something else is probably at work. Yes: transgressive identity-embrace and problematic horny self-permission (“Ich Dar Das“), yes handwavy, unasked-for and potentially intrusive allyship; but also yes absolutely unapologetic low-bar pulp silliness, forever the aqua regia of pop. Only a fool would want to overthink this…
[5]
Natasha Genet Avery: With its chanted, sassy chorus and an infectious, minimalistic beat, “Ich darf das” is a solid entry in the Bad Bitches Getting Ready to Rage songbook. Most of this score is for “Ass out, Daisy Duck,” which is a line (and caption) for the ages.
[7]
Samson Savill de Jong: Don’t think you can slip an insipid “I’m sexy and a woman isn’t that radical” song by me just because it’s (mostly) in German — aside, remember when these songs were actually shocking and anthemic and provocative?
[2]
Katherine St Asaph: I’m still adjusting to the fact that it isn’t March 2020 anymore. I’m not ready for it to be 2015 with Iggy Azalea on the charts (and for those charts to be in Germany).
[4]
Austin Nguyen: It’s nice to know that other countries have their “Lip Gloss,” even if it only lasts for a few choruses, the bleacher stomps reduced to lightweight hops, the braggadocio thinned out to a single fallen strand from a cheerleader’s pom pom. Or, perhaps more aptly, a lone tail feather shed from Daisy Duck — which seems ridiculous at first glance, but does Shirin David not have a point? Is Daisy Duck not the Disney Dumptruck Blueprint? +1 for (possibly) enlightening the public.
[4]
Juana Giaimo: I really like Shirin David’s whispery but still fierce flow, but I wish the track was also at her same level.
[6]