Rent Live: Will I? / On The Street / Santa Fe

577 words

4 minute read

Tune Up #1 / Voice Mail #1 / Tune Up #2 / Rent / Tune Up #3 / You Okay, Honey? / One Song Glory / Light My Candle / Today 4 U / You'll See / Voice Mail #2 / Tango Maureen / Life Support / Out Tonight / Another Day

Will I? - We see Steve, from support group, standing and singing alone.  His voice is shaking as he asks, “Will I lose my dignity?”  We follow Mark, camera in hand, as he is on the periphery of the stage, alone, documenting everything.  Soon, from everywhere in the room, voices are heard singing Steve’s refrain.

This has always been one of our favorite numbers but Rent Live’s version of it has us loving it even more.  We love how the theme of the song is isolation and we see everyone from Steve, to Mark, to Benny, experiencing it.

We love the surround-sound of being enveloped by singers.  And that all the voice parts were so glorious.  It reminds us of singing in choir - of concerts where all the choirs were taught the same song and we all sang it from different parts of the auditorium, coming in at different times.  

This song in particular really centers the narrative on this huge portion of the population experiencing a chronic / terminal illness epidemic with minimal help or care from people in power.  At this point in history (which Rent Live consistently points out) AIDS is basically a death sentence.  And those with it largely only had each other to turn to.

Just a really beautiful piece.  Do yourself a favor and listen to it.

On The Street - Mark, Angel and Collins come upon police harassing homeless people on a bench.  Collins greets the officers and then backs off while Mark zooms in on the officer’s badge and tells him to “Smile for Ted Koppel” and calls the officer by name.  

The police clear out, and one of the women the police were harassing is rightly upset at being used, essentially, as a prop in Mark’s film.  She asks if he has a dollar and then laughs, “I thought not,” when Mark fails to produce one, walking away.

There’s so much to this song.  It’s especially relevant in the current climate when people of color are regularly targeted by police (and witnesses only weapons to stop harassment are their phones, to document what’s happening.

We LOVE seeing this woman’s visceral reaction at being filmed without her consent.  She’s not happy.  Not grateful.  She’s not about to be used as a prop in anybody’s film, or for anybody’s cause.

Santa Fe - Collins, Angel and Mark continue down the street and Collins begins sharing his frustration with grading papers, nightmares and poverty.  He dreams of opening up a restaurant with Angel in Santa Fe.

Honestly, this isn’t a favorite song of ours, but Brandon Victor Dixon really performs it well (as he does everything - let’s be honest.)  We also  really like the choreography of this piece.

Our favorite part, though?  The very end, when Mark’s just hanging out, watching as Angel and Collins stare deeply into each other’s eyes and realize that he’s a third wheel.  He tells them he’ll leave them now, but see them later, at Maureen’s show.  Collins asks Mark to try and convince Roger to come and Mark laughs, “Have fun, you two.”


So sweet.

***

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Rent Live: Life Support / Out Tonight / Another Day

838 words

6 minute read

Tune Up #1 / Voice Mail #1 / Tune Up #2 / Rent / Tune Up #3 / You Okay,  Honey? / One Song Glory / Light My Candle / Today 4 U / You'll See / Voice Mail #2 / Tango Maureen   

Life Support - Collins and Angel go to their support group meeting and so much happens:

We see the amazing Keala Settle as support group leader, Cy.  She’s warm and sweet.  She greets everyone as they want to be greeted.  We see the group has everyone from older straight white businessmen to black gay men to gender nonconforming people, showing that AIDS does not discriminate.

Once everyone has come in, the meeting begins.  Then we see that (oops) Mark has come along (taking Collins at his word that “anyone who wants to” could join them.)  Cy asks, “And you are?” and Mark stutters through a reply.

We need to talk about this, though.  In all the RENTs we’ve seen (film version, Live on Broadway and the Broadway Tour?)  This moment?  With Mark coming into the Life Support meeting with his camera has always been played for laughs.

But Jordan, as Mark, is deeply uncomfortable and it shows in every aspect of what he does here.  From his facial expressions to the fact that he’s wearing his messenger bag around the front like a shield.  Even though he lives each day with Roger (and used to live with Collins) who both have AIDS, too, Mark seems like he'd very much prefer to remain inconspicuous and is increasingly awkward until all the attention is off him.

[Jordan Fisher's Mark is uncomfortable being put on the spot at the Life Support meeting.]

The support group seems to have no qualms about 1) Letting Mark stay and 2) Letting him document the support group on film.  (Jordan Fisher-as-Mark's voice over pre-support group provides some much-needed context for the day and age this occurred.  Just how rampant the AIDS epidemic was and how new any possible treatment was.)

Knowing this (as Cy and the other group members do) we wonder if that might not have contributed to her decision to let Mark stay and film them, as well.

One of our favorite moments is when Gordon (one of the support group members) speaks up after they chorus and affirm each other about seizing each day and living it to the fullest.  Gordon says he has a problem with their credo because, “My T-cells are low.  I regret that news.”

Cy says, “Okay,” but then asks him how he feels today.  Gordon says “Okay,” and after a bit more pressing, he admits, “Best I’ve felt all year,” and Cy asks, “Then why choose fear?”  Gordon says, “I’m a New Yorker.  Fear’s my life.”

Gordon has a great solo about finding some of what they teach “suspect” because he’s used to “relying on intellect when I try to open up to what I don’t know.  Because reason says I should have died six months ago…” (During this last line, Roger joins in singing while sitting alone in his apartment.)

The group continues to affirm each other, but we love that Gordon’s feelings are not only articulated by him but validated and supported by the others.  

Out Tonight - Next, we see Mimi at work, at the Cat Scratch Club, performing a song about how she just wants to have fun, and be reckless, and break some rules.

Mimi’s youth and vulnerability are what continue to shine through with Tinashe’s Mimi.  She just seems so young.  And there’s two stanzas of her song where we get a glimpse of real insight into her character:

“In the evening I’ve got to roam

Can’t sleep in the city of neon and chrome

Feels too damn much like home

When the Spanish babies cry

So let’s find a bar

So dark we forget who we are

Where all the scars from the nevers and maybes die”

Suddenly it all makes sense...why Mimi dropped by Roger’s in the middle of the night with a candle.  Why she needs drugs to cope.  It’s just super vivid with Mimi especially that none of these friends have parental support they can trust, where they could really use a safe adult in their corner.

By the end of the number, we see Mimi has made her way back to Roger’s.

Another Day - We love this song between Mimi and Roger, where he’s angry that she barged in on him (and presumably, made him feel something for her, when he’s trying not to love anyone right now...having just lost his girlfriend…)

Mimi is undeterred and keeps trying to reach out to Roger, to bridge the gap between them.  But Roger repeatedly puts distance between them, yelling at her and shrugging off her touch.  He insists if it were “another day” they might be attracted to each other, but he’s not right now, and Mimi insists right back that there’s “No day but today.”

***

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Rent Live: You'll See / Voice Mail #2 / Tango Maureen

638 words

5 minute read

Tune Up #1 / Voice Mail #1 / Tune Up #2 / Rent / Tune Up #3 / You Okay, Honey? / One Song Glory / Light My Candle / Today 4 U

You'll See - We see Benny’s back again, yelling at a person experiencing homelessness to stop leaning on his car.  Mark points out that Benny’s attitude toward the homeless is exactly what Maureen is protesting tonight.  Benny counters that Maureen is protesting losing her performance space.

Mark wonders what’s happened to Benny’s heart and the ideals he used to pursue.  Benny insists he still needs the back-rent, and Roger says he’s wasting his time because they’re broke and Benny broke his word.

Benny informs them that if they can convince Maureen to cancel her protest, they won’t owe him back-rent after all.  This is when Benny shows Mark and Roger his plans for the studio he wants to build. (But he’s going to wipe out an entire tent city in the process.)  According to Benny, it will be worth it...

Finally, Benny leaves and Collins reminds them that he and Angel have a support group meeting to go to.  They try to invite Roger, but Roger tells them to “let it be, boys.”

Our favorite aspect of this was Mario’s amazing vocals as Benny.  Plus, Mario made Benny likeable and not just a jerk.  We also loved Collins and Angel flirting with each other.  So cute. The relationships between those present were obvious and believable.

Voice Mail #2 - Joanne’s parents call her and leave a message, about her mom’s upcoming confirmation hearing.  It’s clear, in the message, that Joanne’s parents have very specific expectations for her - they don’t want her there with her girlfriend.  It even extends to them telling her how to be dressed.  

It made us really sad for Joanne.  Her parents want her there, but only if she appears in a certain context.  (It’s also clear from the beginning, that the majority of this friend-group are estranged from their parents for one reason or another…)

Tango: Maureen - Next, we see that Mark’s made it over to Maureen’s performance space to help her with the sound equipment.  Maureen (Mark’s ex) isn’t there, but Joanne (Maureen’s current girlfriend) is.  

Joanne tells Mark that she told Maureen not to call Mark, but she had anyway.  Mark confirms this is like her.  And asks, “but can I help since I’m here?”  Joanne says she’s hired an engineer, but she’s three hours late.  So, Mark gets to work on the sound equipment.

Making no secret of her distaste for dealing with broken equipment and freezing and being with her girlfriend’s ex.  Mark says it all sounds very familiar to him - that it’s called the Tango Maureen.

[Jordan Fisher as Mark, "Has she ever pouted her lips and called you 'Pookie?']

They tango together as Mark cautions Joanne in her relationship with Maureen and asks if Maureen is acting a certain way or using certain pet names.  It’s through this process that Joanne realizes that Maureen’s cheating on her.  Mark fixes the microphones and then tells Joanne that “I feel great now!”  Joanne says she feels “lousy.”

Historically, this has not been a favorite number of ours, but honestly, seeing it performed by Jordan and Kiersey here?  It’s amazing.  Their comic timing was everything, and Kiersey’s dryness was perfect - the push and pull of the dance was great and interesting to watch.  We love seeing the innate respect each character has for each other, regardless of who’s dating who.  (Mark is still offering to help his ex’s girlfriend…) and not only that, but cautions her in her relationship with Maureen.  Which is overstepping a bit in a sense, but seems somehow sweet and thoughtful at the same time.

***

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One Song Glory / Light My Candle / Today 4 U

572 words

4 minute read

Tune Up #1 / Voice Mail #1 / Tune Up #2 / Rent / Tune Up #3 / You Okay, Honey?

One Song Glory - Once Mark leaves, Roger is alone. He picks up his guitar and sings what is, in our opinion, his best song. A plaintive rock ballad about wanting to leave “one song” behind “before the virus takes hold.” 

We think this was definitely a highlight of Brennin Hunt’s performance. He hit some of the iconic notes that Adam Pascal (OBC Roger) made famous. This song has meant a lot to us over the years, giving voice to depression as well as the specter of life-altering illness.

Light My Candle - Just after Mark leaves, Roger hears a knock on the door.  Thinking Mark’s forgotten something, Roger answers.  Instead of Mark, Roger finds Mimi (played by Tinashe). Tinashe really brings a youthful vulnerability to Mimi.  It’s easy to believe she’s 19.

Mimi’s come to Roger to ask if he has a match for her candle, as the power has blown for the entire building and is still out.  Roger notices Mimi’s shivering, and appears weak.  He asks after her, and she insists she’s fine, just cold, and “hasn’t eaten much today.”

She leaves, but doubles back when she realizes she’s dropped her stash somewhere in Roger’s dark apartment.  She looks for it, and Roger realizes that he recognizes her as a dancer at the Cat Scratch Club.  He sees a resemblance between Mimi and his recently deceased girlfriend, April.  

Roger finds her drugs and pockets them.  (Roger’s a recovering addict himself and asks why she doesn’t forget the drugs, because “you look like you’re 16.”  Mimi assures him she’s 19 and is “old for my age.”)

She ends up flirting more and more with Roger, as she knows he has her drugs, and eventually is able to take her drugs back from him and leaves.

It’s a song we really enjoy, particularly the chemistry between Mimi and Roger.  The part that makes us laugh out loud has no dialogue at all.  It’s just the look Mimi gives Roger after she asks if she has “the best ass below 14th Street,” and Roger stutters a reply.  The smile on Mimi’s face is something that we love.

Today 4 U - Collins finally makes it up to Mark and Roger’s apartment, with Angel, bearing groceries.  (We learn, courtesy of Mark, that Collins is a computer genius and "the coolest person who ever lived in our apartment.")

Collins says that their benefactor is Angel, who met a woman in a limousine who asked for Angel’s help in making her neighbor’s dog stop barking.  The rich lady explains that she believes if Angel plays her drums nonstop the dog will “bark itself to death.”

Angel agrees to play her drums nonstop for an hour until the dog finally jumps from the 23rd story of the building.  Angel gets paid $1,000 for her help, plus a bonus if Angel trimmed her tree. 

We also see that Angel has indeed gone home to change her clothes and is now in a spectacular dress, with her hair and makeup done.

Vocally, this one is probably the weakest of Valentina’s performances, but her physical performance and dancing is on point, plus she makes up for it in a big way later on.  So, we’re still major fans of her.

***

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Rent Live: Rent / Tune Up #3 / You Okay, Honey?

588 words

5 minute read

Tune Up #1 / Voice Mail #1 / Tune Up #2

Rent - Loved the energy of this number! And we got to hear Jordan (Mark) and Brennin (Roger) sing and interact playfully for the first time. Solid vocals all the way around on this song. (Can hear why Brennin was cast as Roger - he’s got that raspy rock voice that is just so Roger.) The reveal of Valentina’s Angel leading the Alphabet City Avant-Garde in front of the on-stage musicians for the show was everything. Kiersey’s Joanne seemed perfectly cast - Joanne felt edgier than in the past with a more youthful energy.   

Seeing Brandon Victor Dixon as Collins (even this early on) it was evident that his performance was going to be amazing.  From these early lines where Collins struggles after enduring a racist and homophobic attack, we were completely with him.  Transported to where he was.  Rooting for him and wanting safety so badly for him.

This was also where we saw Benny again (played brilliantly by Mario) in incredible 90’s fashion, talking on a giant cell phone.  We saw he was friendly with cops.  (And his vocal talent was undeniable, as he really played the common melodies, changing them up ever so slightly, in a way that, to us, totally worked.)

On a more serious note, we were struck by the sight of Mark and Roger literally setting fire to everything they held dear (Roger’s sheet music, Mark’s screenplays) to stay alive, as they are faced with the staggering reality that they now owe TONS of backrent they cannot pay.

Tune Up #3 - Loved the chemistry between Mark and Roger here.  We loved how Roger strummed his guitar testily in response to Mark asking him if he was coming to Maureen’s show. And how Mark took that as the valid communication it was.

Here, we get much-needed background on Roger, courtesy of Mark (documentarian / narrator) who shares that Roger’s girlfriend left a note telling him, “We’ve got AIDS,” before she killed herself in their bathroom.

Since then, we can see that Roger’s been depressed and in withdrawal and can’t go out much.  Mark, ever the caretaker for his friends, reminds Roger to take his AZT (a new-at-the-time treatment for HIV/AIDS) before he leaves.

You Okay, Honey? - Loved being formally introduced to Angel Dumott Schunard (and the additional context: “That’s who I’m going for this week, anyway.”)  Angel spots Collins on the ground while she’s creating a Christmas tree made of street detritus. (One of her “many talents.”)

Angel is concerned for Collins, asking, “You okay, honey?” and offers him a hand up that Collins won’t take. (He admits that, while he had no money, his attackers had stolen his coat.)  We loved how Angel immediately dropped her hand and gave him space, choosing this moment to disclose that her “body provide[d] a comfortable home for the Acquired Immune Deficiency Syndrome.”   

Collins, though less outspoken about his own status, does disclose as well, and Angel invites Collins home to get a band-aid for his knee, so she can change in time for a support group meeting for people living with AIDS.

We loved Valentina’s vulnerable but proud take on Angel.  It felt super true to the character. Brandon Victor Dixon was perfect as Collins - just assume we will be heaping well-deserved superlatives on him each and every song he’s in.  


We honestly just loved Angel and Collins together.  The chemistry was there from the start. 

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Rent Live: Tune Up #1 / Voice Mail #1 / Tune Up #2

725 words

6 minute read

Tara and I first heard about RENT as sophomores in high school back in 1997. We learned Seasons of Love for our spring choir concert and before we knew much at all about the musical itself, the music to this one song captivated us.

Fast-forward to 2002.  Tara and I were in college and Joey Fatone (yes, we were *NSYNC fans…don’t judge, haha) briefly played the role of Mark Cohen.  (Tara remembers skipping a college class in order to listen to MP3s of the performance - no video even!)  That Christmas, we got the Original Broadway Recording on two CDs.  (Just dusted them off and listened to them, in preparation for the show.)

In the coming years, we amassed RENT the movie (in 2005) and RENT Live on Broadway (in 2008.)  We loved the Live on Broadway version.  The movie brought the musical to life in ways we had yet to see.  Also, Rosario Dawson can be Mimi every single day.

In 2009, we got our chance (finally) to see the show live, as it came to our state.  It was amazing to get to see a few of the original cast (Anthony Rapp and Adam Pascal) in the roles that they made famous.

[Tonia and Tara standing beneath marquee that reads: RENT: THE BROADWAY TOUR MARCH 25-29.  We are both smiling.]

Now?  We’re over the moon (pun emphatically intended) about the chance to watch RENT Live On Fox.  We’re specifically thrilled to see Jordan Fisher playing the first Mark Cohen of color.

(This will be less a critical / disability themed review and more a review as fans of the show.   Also, as our reviews are known to be massive, we’re going to publish this post a song at a time, so we can really get into what we liked in each number.  Keep reading, if that sounds like something you’re into.)

Tune Up #1 - The first thing we noticed here was the Previously Recorded that showed up at the bottom of the screen and confused us (it being a live show and all…)  

That was cleared up soon enough, as the cast showed up prior to a commercial break to inform the TV audience that Roger (Brennin Hunt) broke his ankle just before the end of the dress rehearsal in front of the live audience the night before.  So, it turned out that the majority of the show was recorded the previous night.

As for the first song?  We were a bit flummoxed by the choice to set the show two years in the future.  But we loved seeing Jordan Fisher on stage as Mark, and previously uninjured Roger, was really great, too. (Also, it must be said - THE STAGE. Loved the set pieces providing context and color to these characters’ worlds.)

Voice Mail #1 - We loved seeing Mark actively screening the calls and then laughing a little to himself as he hears his mom comment on the “very loud beep.”  Haha.

Tune Up #2 - Yessss!  This was our intro to Brandon Victor Dixon (who killed it as Judas in Jesus Christ, Superstar) as Collins.  Loved being able to really see all the different locations.  But we worried about Collins as he told Mark and Roger he “may be detained,” as two men with baseball bats, walked up while he was in the phone booth.

Upstairs, Mark and Roger accidentally picked up the phone only to realize Benny was calling.  Former roommate.  Current demander of a YEAR’S worth of back-rent when he previously told them they were golden.  (We also learned that Mark has lost both his job, and his relationship recently.)  Loved the quiet, matter of fact way Mark relayed this information.  

Benny reiterated that he needed the rent, or he’d have to evict Mark and Roger.  Then, as if their luck wasn’t bad enough?  “The power blows.” (Startle reflex warning!)

Seeing the play in a way that makes it really clear what’s going on, and having lived on our own, (and therefore having paid rent) for a while now, allowed us to really wrap our heads around some of the reality Mark and Roger are facing.  Owing a year’s worth of rent is no joke.  So horrifying.

(But such a good start to the show!)


For more: Rent Live on Fox

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30 Books I Read in 2018: 26-30

1,134 words

9 minute read

Books 1-5 | Books 6-10 | Books 11-15 | Books 16-20 | Books 21-25

26. One Child by Torey Hayden

Genre: Nonfiction

Disability Representation: Yes (multiple, but primarily selective mutism and trauma)

Rating: 2 Wheels

Age Range: 18+

Excerpt of Goodreads Summary: Sheila was wild, unreachable, abused--and a genius. She was a child lost until a brilliant young teacher reached out.

What I Thought: I still remember finding this book in a Barnes and Noble, completely by chance, back in 2004.  I turned to Chapter 6, to check out how it was written, and I was hooked.

Since then, I've reread One Child countless times.  And counted it as a favorite book.  This time is the first read-through that things about the book bothered me:

Because it was published in the early '80s, the R-word was still commonly used.  Also some instances came across for the first time as racist.  Not to mention just how ill-equipped the author was at the age of 24 to handle a child with as much trauma as Sheila had.

In spite of all this, Sheila herself remains engaging as ever, and I love discovering things with her like flowers and lotion for the first time ever.  But I had to seriously adjust my wheel-rating, which, at one point would have been 4 Wheels.  

I can't give it that on good conscience anymore, but I still found myself liking the book.


27. The Thing About Jellyfish by Ali Benjamin

Genre: YA

Disability Representation: Yes (selective mutism and main character could be read as autistic)

Rating: 3 Wheels

Age Range: 12+

Excerpt of Goodreads Summary: After her best friend dies in a drowning accident, Suzy is convinced that the true cause of the tragedy must have been a rare jellyfish sting--things don't just happen for no reason. Retreating into a silent world of imagination, she crafts a plan to prove her theory--even if it means traveling the globe, alone. Suzy's achingly heartfelt journey explores life, death, the astonishing wonder of the universe...and the potential for love and hope right next door.

What I Thought: While the book as a whole wasn't one I might typically pick up and read, the storyline was engaging.  I thought it was a unique take on childhood grief, and I really liked the ending.


28.  Dread Nation by Justina Ireland

Genre: Historical Fiction

Disability Representation: No

Rating: 2 Wheels

Age Range: 18+

Excerpt of Goodreads Summary:  Jane McKeene was born two days before the dead began to walk the battlefields of Gettysburg and Chancellorsville—derailing the War Between the States and changing America forever. In this new nation, safety for all depends on the work of a few, and laws like the Native and Negro Reeducation Act require certain children attend combat schools to learn to put down the dead. But there are also opportunities—and Jane is studying to become an Attendant, trained in both weaponry and etiquette to protect the well-to-do. It’s a chance for a better life for Negro girls like Jane. After all, not even being the daughter of a wealthy white Southern woman could save her from society’s expectations.

What I Thought: Not the easiest book to get through but I did find myself fully immersed in the world the author created and wondering what would happen to Jane next.  I liked it enough that I'd check out the next book in the series.  (It looks like there will be a series?)


29.  Hello, Universe by Erin Entrada Kelly

Genre: YA

Disability Representation: Yes (D/deaf, and unspecified learning disability)

Rating: 0 Wheels

Age Range: 12+

Excerpt of Goodreads Summary: In one day, four lives weave together in unexpected ways. Virgil Salinas is shy and kindhearted and feels out of place in his loud and boisterous family. Valencia Somerset, who is deaf, is smart, brave, and secretly lonely, and loves everything about nature. Kaori Tanaka is a self-proclaimed psychic, whose little sister Gen is always following her around. And Chet Bullens wishes the weird kids would just act normal so that he can concentrate on basketball. They aren’t friends -- at least not until Chet pulls a prank that traps Virgil and his pet guinea pig at the bottom of a well. This disaster leads Kaori, Gen, and Valencia on an epic quest to find the missing Virgil. Through luck, smarts, bravery, and a little help from the universe, a rescue is performed, a bully is put in his place, and friendship blooms.

What I Thought: So many issues with this one: There's repeated (unaddressed) use of the R-word by a bully, the bully's (severely ableist, audist) perspective for several chapters.  Valencia, who is D/deaf must rely on hearing aides and lip reading as the child of hearing parents, who was never taught sign language.

Virgil (who has unspecified learning disabilities) is repeatedly verbally assaulted and terrorized by the bully.  He ends up in a life-threatening situation only to be rescued by other children.  It is on him to stand up to the child who abuses him, and his family barely notices anything was amiss after Virgil disappeared for most of a day.  Highly recommend skipping this one, especially if you're hoping for good disability representation.


30. The Running Dream by Wendelin Van Draanen

Genre: YA

Disability Representation: Yes (amputation and Cerebral Palsy)

Rating: 0 Wheels

Age Range: 12+

Excerpt of Goodreads Summary: Jessica thinks her life is over when she loses a leg in a car accident. She's not comforted by the news that she'll be able to walk with the help of a prosthetic leg. Who cares about walking when you live to run?

What I Thought: If I was rating the first two parts of this book?  I'd have given it 3 to 4 Wheels easily.  I felt the representation was refreshingly authentic.

But parts 3 through 5 seriously dropped the ball.  What had the potential to be a rare strong piece of representation by a nondisabled author who did her research devolved (in my opinion) into nothing more than inspiration porn.

Jessica and Rosa (who has CP) never formed an authentic friendship.  Instead their interactions were academic and glossed over.  Their connection to each other felt more like a transaction (Rosa helping Jessica pass algebra II and Jessica helping Rosa achieve what she wanted, but never really showed Jessica getting to know Rosa as a person.)

What was worse is that Jessica was constantly and consistently exploited by peers and the news media as an object of inspiration and when the public started to recognize her (as inspiration porn) she thanked them and used it to push her.  (Which, again, in my opinion, is a totally nondisabled take on a common issue in disability culture, and damaging to boot.)

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