Ariana Grande has endured more tragedy than most people her age (all compounded by media scrutiny), let alone what someone might go through in a lifetime. Starting with the accusation of being responsible for Mac Miller’s spiraling drug addiction to being the unsuspecting catalyst for a mass terrorist attack at Manchester Arena in 2017, Grande’s personal traumas escalated in 2018 as well, between the overdose of Miller and the subsequent quick engagement break off with Pete “Big Dick” Davidson. And naturally in the aftermath of such an indisputable barrage of emotional upheaval, a girl would be wont to turn to her six closest friends (because apparently when you’re a stick figure à la Taylor Swift, “squads” simply flow like champagne–though don’t ask the average girl if having such a huge group of friends could ever be possible past the junior high sleepover era).
And what does one of the richest girls around do with her friends to cheer up? Why, go to Tiffany’s of course (even if this was a concept engineered entirely by a gay man by the name of Truman Capote)! And who was among the crew worthy enough to form this sort of financially elite rendition of Captain Planet? That would be Tayla Parx (a.k.a. Taylor Parks), actress/backup singer, Courtney Chipolone, who has been besties with Grande for a little minute (or long enough to have gotten a tattoo in her honor), fellow musician/Mac Miller collaborator and encourager of writing the concept for “7 Rings” Njomza, Alexa Luria, another O.G. in the Grande group who has known her since the age of ten, Victoria Monet, co-writer of “thank u, next” (the companion white feminist anthem to “7 Rings”) and Kaydence, another singer/songwriter amiga.
The significance of these women going to Tiffany’s for what Grande calls in her song “retail therapy” (while most are fortunate enough to be able to call that of Target) speaks to a larger trend in what the brand has done in order to make itself sustainable in an era where romance and monogamy have clearly become extinct–that is to say, market to the women themselves. The ones who want to embody what the jewelry industry has dubbed the “self-purchasing woman.” In the past, of course, it was always men being preyed upon with jewelry ads to buy for their “wives” (but, really, as most shows and movies set in the 60s have taught us, mistresses were always the beneficiaries of such trinkets). And, as of 1986, the U.S. International Trade Commission made its glib assessment of the industry as follows: “Jewelry has traditionally been considered a gift item and most purchases [are] for that purpose.” Not no more–and especially not after Ari has casually helped further rebrand the buying of jewelry as a symbol of independence as opposed to being “tied down” to marriage (which, obviously, she found a prosaic concept in the end…or at least until a bigger D comes along).
While Grande might have suffered amply for her fame and riches, and subsequently as a direct result of them, don’t pity her too much. Because, as she points out matter-of-factly, “Whoever said money can’t solve your problems must not have had enough money to solve ’em.” Sadly, it’s true–and speaks more about the majority of the ilk that is in possession of power (i.e. wealth) than the increasingly rare breed of pop star that is Ariana Grande. You know, like el presidente and every CEO of every tech and/or e-commerce company ever. That said, it would appear as though people are finding it difficult to fault Grande for her love of the “Material Girl” lifestyle when she makes it seem so damned empowering (and is willing to share with her already rich friends).
That women seem always to turn to the comforts and delights of luxury when all else (relationships) fails them in life is not necessarily some horrendous sign of the frivolous nature of the sex, so much as the fact that women are very aware that “things” have never disappointed them the way patriarchal society has. Unless, that is, you’re Princess Nokia, disappointed by Ari herself for grafting certain key lines regarding hair a little too overtly. And, speaking of elements grafted, Grande also can’t help but steal from Notorious B.I.G. by way of Travis Scott as she demands, “Give me the loot.” This line, however, will never be more immortal than Grande quoting her own Instagram from October 2018 (as opposed to Princess Nokia’s lyrics): “You like my hair? Gee, thanks, just bought it.” Illustrious for her hair extensions almost as much as her Mariah Carey-rivaling pipes, Grande’s love of long hair reaches new very literal lengths in a shot of her in her Barbie dream house (which is equal parts a result of spending too much time with Nicki Minaj and ripping off the look of the pink trap house in Atlanta made infamous by 2 Chainz. And, speaking of trap houses, does Grande have any idea what actually goes on in them?–because it certainly wouldn’t fit in with the “Pretty Girl Swag” dolce vita being touted in this song).
While Grande’s commitment to friendship comes at a high price tag, as she self-celebratorily says, “Wearing a ring, but ain’t gon’ be no Mrs./Bought matching diamonds for six of my bitches/I’d rather spoil all my friends with my riches.” It’s certainly something Carrie Bradshaw could have gotten on board with had she not been a fake broke ass (instead taking Charlotte’s Tiffany engagement ring as a means to pay for her own housing needs). Unfortunately Grande, too, must be subjected to a similar backlash after being momentarily praised for her single girl espousing/hoes before bros manifesto in favor of discussions regarding her “grotesque” appropriations of black culture. But better her than a white bitch, right? ([coughs] Iggy Azalea/being of Italian descent like Grande ain’t your conventional white, as pointed out in True Romance).
As for Grande’s materialistic repackaging of the once nature-loving, appreciative of the simpler things in life “My Favorite Things” (you know, the basics, like “cream-colored ponies and crisp apple strudels/Doorbells and sleigh bells/And schnitzel with noodles”), well, it’s not like Gwen Stefani hasn’t bastardized something from The Sound of Music before for more pertinent to the purpose of pop reasons. Or in Grande’s case, hip hop-flavored pop. Siphoned from others or not.
