Charlene Kaye: the 10 funniest things I have ever seen (on the internet)

TruthLens AI Suggested Headline:

"Charlene Kaye Reflects on Humor and Music in Internet Culture"

Charlene Kaye: the 10 funniest things I have ever seen (on the internet) analysis cover image

The Guardian 4.6

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Original Article Source: https://www.theguardian.com/stage/2025/apr/23/charlene-kaye-the-10-funniest-things-i-have-ever-seen-on-the-internet

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Raw Article Publish Date: 23 April 2025

AI Analysis Average Score: 4.6

These scores (0-10 scale) are generated by Truthlens AI's analysis, assessing the article's objectivity, accuracy, and transparency. Higher scores indicate better alignment with journalistic standards. Hover over chart points for metric details.

TruthLens AI Summary

Charlene Kaye, a millennial musician, reflects on her long-standing relationship with the internet, tracing her roots back to the early days of platforms like MySpace and YouTube. She humorously recalls her own cringe-worthy online presence, including a vibrant MySpace page and a Xanga filled with awkward poetry. Kaye's internet humor seems to stem from a genuine affection for bad music, which elicits a mix of confusion and joy. She expresses a desire to understand the creative processes behind certain songs, particularly those that defy conventional standards of musical quality. Kaye's observations often highlight the absurdities in music production and performance, such as the chaotic layering of vocals and the unpredictable tempos that characterize some modern tracks. Her commentary on these topics reveals a lighthearted yet critical perspective on the entertainment industry.

In addition to her love for music, Kaye shares her fascination with various internet phenomena, particularly those that showcase the quirks of performance art. She mentions a Canadian content creator, Mitch Wood, and the chaotic hilarity of Patti LaBelle's performance at a White House event, where her backup singers were delayed due to a fire drill. Kaye also expresses her appreciation for a musical comedy group, Two Tree Hill, highlighting their unique and intelligent humor. Throughout her reflections, she intertwines personal anecdotes with broader observations about internet culture, particularly the peculiarities of Christian music influencers and the cringe-worthy moments that often populate social media. Kaye's writing encapsulates a blend of nostalgia, humor, and critique, making her commentary both relatable and entertaining for her audience.

TruthLens AI Analysis

The article presents a humorous and personal perspective on the internet culture, particularly from the viewpoint of a millennial musician. The tone is light-hearted and nostalgic, reflecting on the evolution of online platforms and the absurdities of modern music.

Cultural Reflection

Charlene Kaye’s commentary reveals a deep connection to the internet's evolution, especially during the early 2000s with platforms like MySpace and YouTube. This nostalgia resonates with many who grew up in a similar era, evoking a sense of shared experience. By referencing cringe-worthy personal anecdotes, Kaye creates a relatable narrative that encourages readers to reflect on their own digital past.

Humor as a Tool

Kaye employs humor as a mechanism to critique the music industry, particularly the phenomenon of "bad music." Her analysis of specific songs highlights the chaotic nature of contemporary music production. By exaggerating the flaws in these works, she draws attention to the absurdity within the industry, making her insights entertaining while still thought-provoking.

Audience Engagement

The article seems designed to engage a particular demographic—millennials and younger audiences who appreciate irony and humor in cultural commentary. It invites readers to share in the laughter over common cultural references, fostering a sense of community among those who recognize the shared quirks of internet culture.

Potential Hidden Agendas

While the article primarily serves as entertainment, it may also subtly critique the music industry and its standards. By highlighting the absurdities of popular music, Kaye might be encouraging listeners to question the quality and authenticity of the content they consume. This could reflect a broader commentary on consumerism within the entertainment sector.

Trustworthiness and Reliability

The article appears to be a personal opinion piece rather than a news report, which impacts its reliability. It is subjective, relying on Kaye’s personal experiences and humor, making it less of a factual account and more of an entertainment piece. However, the authenticity of her voice and experiences adds a layer of credibility to her observations.

Influence on Society

In terms of societal impact, the article may inspire readers to reassess their relationship with music and media. It can serve as a catalyst for discussions about authenticity and quality in the entertainment industry, potentially influencing consumer behavior. While it may not have direct economic or political implications, it contributes to ongoing conversations about cultural consumption.

Community Resonance

The humor and nostalgia appeal to communities that cherish internet culture and music from the 2000s. Fans of Kaye’s music or those involved in similar artistic expressions are likely to resonate with her commentary, fostering a supportive environment for those sharing similar tastes and experiences.

Market Impact

While the article itself may not have significant implications for stock markets or global economics, it reflects broader trends in the entertainment industry that could affect music sales and streaming platforms. Observations about music trends and consumer preferences can influence how these companies strategize their offerings.

Global Context

The piece, while focused on personal and cultural observations, aligns with current discussions about the relevance of authenticity in media. As audiences worldwide grapple with the saturation of content, Kaye’s humor serves as a reminder of the unique quirks that define modern entertainment.

The use of artificial intelligence in crafting such articles could involve algorithms that analyze trends in humor and cultural commentary, shaping the narrative style to align with popular preferences. However, the distinctly personal anecdotes suggest a human touch that AI might not replicate fully.

The article does not appear to contain manipulative elements, as it primarily aims to entertain and reflect rather than to persuade or mislead. Its playful tone and genuine observations encourage readers to appreciate the absurdities of music and internet culture without any underlying agenda.

In conclusion, the piece effectively captures the spirit of internet culture, using humor and nostalgia to engage readers while reflecting on the complexities of modern music. Its subjective nature limits its classification as a traditional news article, leaning more toward personal commentary.

Unanalyzed Article Content

Source URL: https://www.theguardian.com/stage/2025/apr/23/charlene-kaye-the-10-funniest-things-i-have-ever-seen-on-the-internet

I’m a millennial musician who was there at the buttcrack of dawn of MySpace and YouTube, so girl, I’VE BEEN THERE FROM THE BEGINNING. Did my personal MySpace page have a nauseating Lisa-Frank-on-acid aesthetic with a mouse cursor that transformed into a unicorn spewing glitter when it moved? Absolutely. Did I have a Xanga page with cringe poetry that detailed things I wanted to do to Keanu Reeves while Such Great Heights played on a loop in the background? Of course my basic ass did.

I think my internet sense of humour is rooted mainly in a deep, sincere love for bad music, which is any music that gives me a manic grin and makes me whisper to myself, “What the fuck … ” I need to know how these works of art got greenlit. I need to know why there are 17 lead vocal tracks on the Cadillac song (see below). I need to know if Nick Jonas practised AT ALL before going on stage at the CMAs. I need to know if the Christian music influencers know they are using a blaccent, or if they know a single Black person. Either way, the results are a gift to us all. Or a gift to me, anyway.

It’s not so much how the graph is superimposed on to the photo(graph), but the soft-focus earnestness of Chad Kroeger’s face in the background.

Listen to this fucking production. There are five lead vocals. None of them are in tune. The melodies stretch OVER the bar and it’s unclear what time signature it’s in. The background vocals are LOUDER than the lead vocal. The drums are barely audible but definitely not in time. The bassline meanders aimlessly in what feels like an INVERSE groove. Then it randomly speeds up in the middle and goes back to its original tempo. I could listen to this on loop for hours and still discover something new every time.

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I’m obsessed with Mitch Wood. It’s this Canadian dude running around his kitchen island 400 times. No budget, no problem. If you’re a theatre kid you’ll know that every single one of these people in his curtain call is surgically specific.

This is an internet treasure – icon, legend, queen Patti LaBelle singing at the White House annual tree lighting ceremony, having no idea where her backup singers are and becoming more and more visibly pissed. They finally pop up at the end at the most random moment and it was later revealed they were stuck in a fire drill. Incredible stuff.

Not bad music, but I made an exception for some excellent musical comedy. I’m biased, because they’re my friends, but Two Tree Hill is making the smartest, funniest musical comedy out there right now. This popped up on my algorithm last year and I immediately messaged them like CAN WE BE FRIENDS?!?!? I got a DM back from Ryan saying “Charlene … I literally saw you on tour with StarKid when I was 14.” The rest is history.

Chad has what I can only describe as inverse swag, but I fear the song kind of slaps. It’s like if your weird co-worker at H&R Block heard Charli xcx once and decided to make this on his dinner break. “I’m a rook that moved diagonally” is definitely a bar. I know exactly what GarageBand synth loop this is. It’s called like “Dubstep Flames 22” or something.

My algorithm is completely screwed because I can’t stop hate-watching Christian music reels. Especially of white Christian “rappers” in a newsboy cap, freestyling in the parking lot of their suburban strip mall. Being a white girl saying “What’s yo’ fuuuunction / homewrecking my heart with intellectual seduction” like this should be outlawed in several states. Girl, you aren’t J Cole. Stop it. Stop it right now.

Peak 2012-core. I have so many questions. Who styled everyone? Did these low-energy office interns audition to dance in this video? What’s with the Microsoft Office-core flash animations in the background? Who chose these fonts? All that said, it sounds like Temu Drop it Like It’s Hot and I can’t get enough.

Delicious on every level. Free jazz at best. It’s like walking into a room and forgetting what you wanted to do there. I have played it many times on my own and I discover something new every time.

As a first-generation Chinese person with the cheapest parents alive, I relate to this on every level. Jimmy is the GOAT.

Charlene Kaye is a comedian and musician. Her band Labiahead is playing at Nublu in New York on 17 May

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Source: The Guardian