top of page
Search

Truly the Rise and Fall of a Midwest Princess: My Massive Chappell Roan Debrief

  • Writer: The Mary Word
    The Mary Word
  • Apr 6
  • 11 min read

By Clara Ding 

Art by Hannah Hippmann 


I’ve always wanted to write an article about Chappell Roan but not enough people knew about her as an artist. As I kept her hidden away as my niche interest, it surprised me immensely how popular she got with her new release, ‘Good Luck, Babe!’ I had been anticipating this release since her Miss Piggy photoshoot, so waking up to her music copied and pasted all over social media took me by surprise and honestly mortified me. Since then, she has become an extremely accomplished music artist, winning many awards, such as MTV and the Grammy's award for Best New Artist but still staying true to her personal morals despite her global fame. 


Background info 

You might know Chappell from Hot to Go!, Good Luck, Babe, or ultimately, her viral debut album, The Rise and Fall of a Midwest Princess. But have you heard her referred to as ‘the next Lorde’ or from her YouTube days? Believe it or not, when Chappell first emerged, she was known as the next Lorde. She would sing in cursive, perform in parks, and many music producers recognised her talent, labelling her as a rising star. Chappell had a rocky start before deservedly skyrocketing in fame, such as feeling stuck in small, conservative Missouri, getting dropped by her old label and initially struggling to find success in songs like Pink Pony Club which only gained traction years after its initial release. Nonetheless, her music is finally being appreciated, despite many fans often being unaware of her hard work and difficult history that led to her current position.


Before Midwest Princess, Chappell struggled immensely with her music career financially, emotionally and physically. Growing up in the small town of Willard, Missouri, Chappell had always felt confined, yearning for something more than the limitations of her conservative hometown. Her trademark "White Face" appearance, one of her most recognised artistic statements, was later inspired. Although Chappell is currently extremely successful, her progress was hindered by record label executives who failed to recognise her potential. Chappell herself has opened up about past struggles with her formal record label, Atlantic Records. Despite her producer, Dan Nigro, placing firm faith in her, Atlantic Records opposed the release of her song Pink Pony Club, a track crucial to her artistic identity. When Pink Pony Club was finally released, it flopped badly, ultimately causing her to get dropped by the label. Following that misfortune, she quickly ran out of money and was forced to move back to live with her parents and work at a cafe drive-thru, ‘Scooters Coffee.' Although many individuals sympathise with her hardships, she has made comments explaining that her struggles are 'like most people,' highlighting her ability to connect with ordinary people that stems from her relatable background. In contrast to many celebrities who might have come from more privileged backgrounds, she had to overcome financial obstacles and 'common people' struggles in order to achieve fame. Chappell is known for many special attributes, but she ultimately emerged as a drag artist. Or, crossing visual boundaries through drag, without it being explicitly recognised as such. Her creativity and artistic identity have opened up many discussions, one of them being ‘can women do drag?’ Well yes! Drag as an art form is about transcending traditional gender boundaries and is a genderless art form that allows individuals to express themselves artistically without adhering to societal norms. Additionally, drag is based on queer rebellion against society; Chappell is a true drag queen in every sense as she expresses rebellion against the homophobic and offensive beliefs of her hometown. 


Chappell’s authenticity 

What makes Chappell Roan so special and different compared to other artists? Is it her extravagant makeup and outfits? Or her nonchalant attitude towards rude photographers/paparazzi? For me, and many others, Chappell stuck out due to these many elements, but the most prominent being hair and her drag/camp aesthetic. She is known for her curls, and her hair dyed vibrant red from copper brown in 2022 for her new era Midwest Princess, where she leans into self-discovery regarding her alternate persona, Chappell. In general, people have very positive opinions about her drag-inspired appearance. She is praised for her authenticity and self-expression, yet many fans fail to recognise that her references and looks are rooted in camp and drag culture, creating a paradoxical response to drag itself. First appearances of drag trace back to the 1800s through ball culture and voguing and since then have remained taboo, representing the rebellion, freedom and confidence of queer individuals but heavily misconstrued as 'sinful’ and ‘offensive’. On the other hand, Chappell’s drag-inspired looks and performances are widely loved and celebrated within the lens of mainstream pop, fashion, makeup, and performance. This dichotomy highlights an individual’s comfortability with familiarity with mainstream/popular media but ignorance towards niche media. This comfort often leads to many situations where individuals only appreciate Chappell’s display of drag as it is presented in a more mainstream/palatable form but do not extend the same acceptance when it comes to traditional drag culture. Regardless, Chappell remains close to her drag identity, and friends met through drag. You might have heard of her well-known and well-celebrated saying "I’m your favourite artist’s favourite artist" from introducing herself at her MTV performance; it even appears when simply googling her name (and vice versa). As well as it being an old saying many bands used to use, Chappell was directly referencing her drag mother, Sasha Colby—winner of season 15 of Drag Race, trans activist, and incredibly apparent in the queer community—which many fans are oblivious to, ultimately proving this dichotomy. 



Chappell Roan concerts are a true expression of her creative essence through the form of performance. They create a space where queerness, camp, and theatricality are celebrated, cute outfits and makeup are required, and other individuals' artistic expressions are shared; instead of other artists opening for her shows, Chappell gets local drag queens to open, even before her fame, further contributing to her performances as a whole. They have also revived once-dormant ‘themed concerts’, proved her extraordinary talent in vocals and stage presence, and ultimately provided fans with a compelling, upbeat performance and extremely positive experience. Before each tour, she posts on her social media what each location has been allocated which theme. She draws inspiration from the themes of her own songs: space for Super Graphic Ultra Modern Girl, cowgirl for Pink Pony Club, rainbow for Kaleidoscope and more. 



(credits: Chappell Roan Instagram)


Successes before ultimate fame 

Chappell Roan’s rise in the music industry took a major step forward when she opened for Olivia Rodrigo, gaining exposure to a massive audience. Not only did she open for Liv, but she also contributed as a backing vocalist (through the fact that they have the same producer, Dan Nigro) on key albums such as Guts and Hunger Games: The Ballad of Songbirds and Snakes, further showcasing her versatility as an artist. 


Rise and Fall of a Midwest Princess 

The Rise and Fall of a Midwest Princess represented a new era for Chappell, marked by her red hair and interest in queer aesthetics, but to a lot of new fans, it might as well have been her debut. The album had been out for months before Chappell’s big breakthrough, slowly gaining attention. It wasn’t until tracks like Hot to Go! started picking up momentum that she truly hit the mainstream, making this album her official introduction to many listeners. Through gaining internet traction and the interactive dance during live performances, Hot to Go! remains one of Chappell’s most popular tracks.


Like many other queer artists who have had trouble grappling with a sense of their identity, Chappell wrote Midwest Princess about the fantasies of ‘Kayleigh’, who grew up in a small, restrictive town, sparse of artistic opportunity. In an interview, she stated that she was heavily inspired by Ethel Cain’s Preachers Daughter. Midwest Princess isn’t just a concept album, but tells a story, just like Preachers Daughter, following Ethel Cain, her troubled relationship with religion, past affairs, her father and her eventual passing. With Preachers Daughter and Ethel Cain being one of my favourite albums and artists of all time, it was amazing to see a connection between her and Chappell. Although their styles initially seemed quite different, listening to each album reveals how the narratives of queer individuals can vary greatly, yet at their core, they share common threads of experience and emotion.


Another popular track from the Midwest Princess discovery is Feminiomenon, a track that delves into uplifting women instead of giving attention to mediocre men who do the bare minimum. Systemic sexism and sexism/misogyny in general have caused detrimental mental and physical damage to women. But not just from our oppressors. Sadly, the works of systemic sexism have caused women themselves to contribute to their own oppression by projecting sexist thoughts, actions or ideas onto other women and even themselves. This phenomenon is entitled internal misogyny, undeniably a root factor of sexism in society today. In this system of oppression, women are in constant, intimate contact with their oppressors, so just like how misogyny can be learned through external forces, so can internal misogyny. A recent trend of internal misogyny involves women promoting anti-feminist ideologies, often stemming from their adaptation of patriarchy and misconceptions about modern feminism. The most frequent stereotype regarding feminists is the belief that the movement is anti-men. In reality, feminism is about equality and challenging the notion that women are inferior to men in society. Feminist artists like Chappell help our progress towards equality and justice for women in the future, essentially obliterating damaging forces such as internal misogyny and severe misconceptions of modern feminism.


Miss Piggy 

Chappell has gone viral for many iconic performances, tracks and most importantly, looks/outfits. Remember her full green Statue of Liberty look? Her swan lake inspired look that appeared on Jimmy Fallon’s The Tonight Show? Or her pig-nose look for the Good Luck, Babe song cover? What all these iconic looks have in common are that they are inspired by the illustrious diva from The Muppet Show, Miss Piggy. What all these iconic looks have in common are that they are inspired by the illustrious diva from The Muppet Show, Miss Piggy. Miss Piggy's iconic Hollywood glitz and daring fashion choices are evocative of Chappell's style, which frequently combines current trends with campy statement pieces. Some fans have speculated about possible collaborations or Easter eggs in Chappell's performances after noticing similarities between her attire and Miss Piggy's. Like Lady Gaga, Chappell's theatricality and her ability to incorporate fun and inventiveness into her performances are highlighted by the relationship to Miss Piggy.



Chappell and politics 

Wandering into the realm of politics is often left untouched by mainstream artists, either out of fear of public criticism or protecting their commercial image. Chappell Roan's decision to reject the White House invitation for a Pride performance is a significant moment in her career, aligning with her commitment to social justice and equality. She was specifically standing up for the Gaza citizens suffering from the ongoing genocide, trans and women's rights, and presidential handling of climate change. During her performance at the Governor's Ball, Roan, dressed as the Statue of Liberty, emphasised the importance of liberty, justice, and freedom for all, particularly trans rights, women's rights, and freedom for oppressed people in occupied territories. This stance reflects her strong advocacy for human rights and her willingness to use her platform to address political issues, unlike many other celebrities. 


Unsurprisingly, this action (like many more of her stances) sparked a mix of praise and backlash from the public. Chappell is brave enough to vocalise her concerns with the industry, and her stances have been spread throughout the media. A few notable instances include when she treated a rude photographer with the same immature behaviour he treated her with, confronting that same photographer at a different event, and criticising labels for not providing artists with a living wage and healthcare benefits in her acceptance speech at the Grammy Awards. As an individual who is active on social media, I’ve seen both ends of how the public perceives Chappell based on these instances, and many negative perspectives are heavily driven by sexism. On one end, the public questions her motive, describing it as ‘attention-seeking’, police her tone to undermine a female voice, scrutinise her appearance and music, have double standards, dismiss her concerns, and more. On the other hand, Chappell has earned admiration from fans who value her advocacy and authenticity. The media also often portrays her as someone who ‘lacks media training,’ leading to similar reactions. 


Chappell Roan Fandemonium 

As much as Chappell’s new large fan base should be celebrated, it can be frustrating for many original fans and Chappell herself. Chappell Roan's rapid rise to fame has been accompanied by significant challenges in managing her newfound celebrity status. She has been vocal about her struggles with invasive fan behaviour, describing fame as 'abusive' and likening it to the actions of an 'abusive ex-husband.' She has faced disturbing incidents, including stalkers showing up at her hotel room and her parents' house, fans ambushing her at airports and even being physically assaulted by a fan at a bar. One particularly sensitive issue for Roan is fans shouting her birth name, which is considered a violation of the boundary between her public persona and private life and honestly just weird in general. In response to these challenges, Lorde sent Chappell a list of 8 specific things she wished someone had told her when she was going through a similar experience in her early career.


Within the Chappell Roan fanbase, I’ve seen many weird occurrences that I (as a major Chappell fan and supporter) and many other fans wouldn’t want to be affiliated with. As a fan of Chappell before the ultimate fame myself, I have mentioned this detail to almost everyone I know, afraid of being labelled with ‘basic music taste’. Many of these occurrences aren’t strange but just really annoying; these ‘fans’ don’t truly appreciate Chappell as an artist, but enjoy whatever is trending in the media. The song and dance from Hot to Go! that has gone viral on platforms such as TikTok and Instagram has instigated different versions of the dance and some of which strip away the queerness and camp that define Chappell’s artistry. One of these variations was a complete reiteration of the dance, transforming it into a cheerleader dance despite Chappell’s negative history with cheerleaders; she was bullied and ostracised by them at school. It reflects how people often chase trends without truly understanding the artist or the meaning behind their work. Furthermore, the fanbase has enabled a culture that tolerates child exploitation through ‘baby Chappell Roan,’ which is essentially a mother using her 2 year old who has no control over their appearance on the internet, to gain social media traction. Not only is Chappell’s music completely inappropriate for a two-year-old, but when she met her at an exclusive one-on-one meet and greet, Chappell was dressed as Divine Trash, ‘the Drag Queen of the Century’. Divine was famous for her trash, filth and obscene performances and aesthetics, but completely unsuitable for a 2-year-old. As a fan of Divine Trash and John Water’s Pink Flamingos, I was so excited when Chappell referenced her, but being a fan of both just made it further apparent that the whole concept of ‘baby Chappell Roan’ was surreal. 


But that doesn’t mean her fanbase consists entirely of ‘weird’, ‘rude’ and ‘sensitive’ fans. Most of Chappell’s fans are genuinely passionate about her music and artistry, celebrating her creativity without engaging in the more extreme sides of the fandom.


Conclusion

By now, we all know to await new music from Chappell. From listening to her new releases, Subway and The Giver, I know she is once again embarking on a new musical journey, a new era and new sound and I can’t wait to listen. In final analysis, Chappell is an amazing performer and artist, too good to be labelled as ‘basic’, from her music to her looks to her concert atmosphere and more. I love Chappell as an artist and a person, and I fight to claim myself as an ‘og Chappell Roan fan'. Her authenticity, diva attitude and brilliant music will always have a lasting impact on me (and her grasp on country music!!)


Sources 


bottom of page