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Noah Rashid
Noah Rashid

[S2E3] Double Trouble

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You have to love the powers that be at Good Trouble. They knew there was a mixed reception to the dance number during Good Trouble Season 1 Episode 13, but they doubled down on it with a fiery number at Jazmin's Doble Quince.

Malika has found inspiration and doubled down on her activism by joining the Black Lives Matter movement, officially. The series has handled many of these topics with such thought and care, and it's pleasing that they're sticking with it even though the Jamal Thompson case has come to an end.

When Lloyd tells the students they need to help the real ninja, they tie him up again. Gene concludes that if either the real or fake ninja could get a hit on their double, one would disappear and tells them that they should help the evil ninja defeat the real ninja. Lloyd reveals that he's been lying and that he is good, but that Brad is too. He recalls that on his first day, Lloyd didn't know how things worked around Darkley's, and although Brad put fire ants in his bed it was only to show Lloyd how things worked at Darkley's. Lloyd tells the students that each of them have a secret good side to them that stays quiet out of fear of being alone. Realizing this is true, the boys join Lloyd.

Chapter 3 turns to jazz and to singer Jimmy Scott, whose medical condition stunted his growth and affected the development of his vocal chords. Eidsheim demonstrates that the gender trouble Scott's voice created for the recording industry was not due to pitch range alone. In fact, his singing range was no higher or lower than other African American male singers of the time. But by considering timbre, Eidsheim argues that Scott's masculinity was called into question, not by high-pitched singing but by his refusal to use falsetto at higher ranges, what she calls "timbral scare quotes" (p. 105) that bracket off such performances from presumably heteronormative, hypermasculine Blackness. Thus, Eidsheim's timbral analysis helps us to understand not only Jimmy Scott's career and recordings but potentially those of other African American performers, such as Sylvester, who have similarly disrupted notions of gender, race, and sexuality through singing. (6) 59ce067264


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