Ashley Tisdale Jokes About Her Daughter's Obsession With High School Musical
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Ashley Tisdale shared that her daughter has become a big fan of the High School Musical trilogy and loves the songs
Ashley Tisdale's daughter, Jupiter, recently made a fun discovery that her mom is Sharpay Evans from the popular High School Musical movies. In a TikTok video, Ashley shared that Jupiter has become a big fan of all three films and loves the songs too, especially Humuhumunukunukuapua'a, which the actress dislikes. Ashley explained that her daughter only started loving the movies again after watching her niece perform in a High School Musical stage play. Before this, Jupiter had seen the movies but wasn't very interested. But seeing her cousin act as her mother's character seems to have sparked a new love for the trilogy.
She explained, 'Jupiter saw my niece in the High School Musical play last weekend. When she's seen the movie in the past, she never really cared about it, but I think seeing my niece in the play, play me, has just changed her. So she had to watch all three movies. She will not stop listening to the music. It's playing in the house right now. When I'm on walks with her, she asks for me to play it. When I'm in the car, she asks me to play it, specifically High School Musical 2. Her favourite song is Humuhumunukunukuapua'a, I hate that song. I don't know what kind of karma this is, but this is wild."
'She screams out, she screams out in public, 'I'm Sharpay's baby,' like I can't. I just feel so embarrassed when I'm walking into a store and she's like, 'We're all in this,' and I'm like, 'Oh, my God.' It's really sweet, but after like, a good week straight of listening to the music again, it's like, 'Ok. We're good. We don't need to watch this again. We don't have to listen to this anymore.' I always have to be like, 'Don't sing that next to me.' Because it's like, someone's gonna be like, 'Oh my god, I saw Ashley strolling her child and she was listening to her own music from High School Musical'," Ashley Tisdale added.
Ashley Tisdale talking about her daughter new obsession with HSM.We're all Jupiter! pic.twitter.com/16waNvajlX — High School Musical Fan Archive (@archive_hsm) May 13, 2025
Interestingly, the song Humuhumunukunukuapua'a from High School Musical 2 is not as well known because it was removed from the original release. It was added later in the extended version, which came out on DVD and streaming platforms. Other than Jupiter, Ashley Tisdale also has another daughter named Emerson, whom she shares with her husband, Christopher French.
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Raghavan's recently published Rama Bhima Soma (2025) is a rigorously-researched cultural investigation of modern Karnataka, and a fantastic primer for the probing reader invested in understanding the political contestations that underpinned the emergence of Muslim women writers such as those of Mushtaq and Sara Aboobacker. The combative and multi-faceted cultural icon and writer P Lankesh first gave space to both writers in his weekly publication Lankesh Patrike. In her foreword to her reprinted Kannada collection, Mushtaq expresses gratitude to him and the Bandaya writer and veteran Baraguru Ramachandrappa for 'giving her writing a direction and expanding the boundaries of her thinking.' Mushtaq's literary expression denotes a clearing of space in the Kannada cultural sphere on many counts. As a Muslim Bandaya writer, her work is opposed not only to normative, Hindu upper-caste, male-dominated literary production in Kannada during the latter half of the 20th century, but also within the domain of political critique in and about Muslim communities in Karnataka. Her work in talking truth to power about the hypocrisies of religious orthodoxy in these communities, their oppressive and highly patriarchal religious norms, further opened a conduit to articulate a women-centric experience, which prominent male Muslim writers in Kannada also often hesitated to voice. Her call for internal reform in relation to women's rights in these spaces landed her with a fatwa in 2000, leading to her social boycott. Her activism highlights the complex socio-cultural positionality of women in these hyper-local communities. 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The journalist and critic Deepanjana Pal recently observed that these are stories 'written about and for women' and have characters which 'are often unabashedly sentimental and dramatic, wailing at the world that restrains them, and also challenging what is considered respectable.' The title of one of Mushtaq's stories, 'Be a Woman Once, O Lord!' exemplifies this drama. But Pal also feels, 'this is a volume that doesn't draw you in as much as guilt you into finishing it…[and] the selection feels monotonous rather than diverse…[The stories] follow predictable arcs and are populated by characters who become a sad, unidimensional blur.' Interestingly, as I was scouring the internet to gauge general opinion about the book in the lead-up to the prize announcement, this was a view that was at least partly echoed by many social-media reviewers of the International Booker Prize shortlist. Some dismissed the short story collection with a terse description of its importance – noting little else than that it captured the situated experiences of women in a socio-culturally specific landscape in Karnataka. Or assumed that a short story collection would never win the prize. Banu Mushtaq's overwhelmingly tragic narratives certainly owe an affective debt to the political objectives of the Bandaya Sanghatane, but I suspect there is more to be explored in how it speaks to an existing cultural idiom of sentimentality in Kannada literature and popular melodramatic cinema. Particularly in movies starring the superhit actresses Shruti and Sithara in the decades parallel to Mushtaq's literary production, this was the predominant emotional overlay which framed how similar women protagonists were portrayed in Kannada cinema, doubly condemned by their biology and patriarchy. But this is not the right place for that excursive analysis. The discourse around the politics of its translation has also been equally fascinating, where some of my friends and translators reading the Kannada and English together have wondered what the translation choices in the work say about questions of 'authenticity' or 'exoticism' – even though this is, admittedly, a reductive binary. As the Booker Prize judges noted, the translation is indeed powerful because it 'ruffles language to create new textures in a plurality of Englishes.' However, for me, more than estrangement and novelty, it demonstrates the ways in which many of the characters populating Mushtaq's stories easily inhabit a continuum of hybrid, multilingual ethno-religious spaces in Karnataka. To quote the bilingual intellectual Sugata Srinivasaraju, the stories embody various forms of 'rooted cosmopolitanism' in the Kannada public sphere – and there isn't a better example of this than Banu Mushtaq and Deepa Bhasthi on the International Booker Prize stage.
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