Archive for May 21st, 2009

21
May
09

White girl in the band: Exene Cervenka

X; from left to right: Billy Zoom, DJ Bonebrake, Exene Cervenka, John Doe

X; from left to right: Billy Zoom, DJ Bonebrake, Exene Cervenka, John Doe

Thinking about Debbi in Repo Man, I remembered Exene Cervenka, another West Coast punk lady who scraped around in the 1980s. I saw X: The Unheard Music recently and highly recommend it. Simply put, it’s a documentary about L.A. punk pioneers, X, which was fronted by Cervenka and John Doe. It was released in 1986, Rent it, buy it, steal it, add it to your Netflix queue, whatever.

Despite its straight-forward premise, I really appreciate the documentary’s mixed media approach. Eschewing the standard talking head format, director W.T. Morgan weaves together concert footage, staged material, interviews, band rehearsals and recording sessions, tours of L.A. neighborhoods and venues, and direct-to-the-camera recollections from the band and some of the relevant people in their lives who worked with them. Oh, and Ray Manzerek.

I enjoyed the way in which the various ways in which the band were documented was put together, with clips often dialoging or juxtaposing with one another. For example, at one point, drummer DJ Bonebrake watches pre-recorded clips on a television in a rehearsal space, interrupting the images and sound as he changes the channel.

We also get lots of Exene, who has one of the most commanding presences in rock. We get interviews. Live performances. Recording sessions. Writing sessions with Doe (who she was probably divorced from at the time of filming). Tours through the dilapidated dressing rooms and bathrooms of punk clubs like the Masque. Candid discussions of her sister’s death. Footage of her scrawling in a journal.

But for me, the best part is the silent short in the middle of the film. Filmed in black and white, it tells the story of a ghost, played by Cervenka, and her solitary, ephemeral travels. This segment is a fascinating moment of rupture. But I think it also speaks to the ways in which females are absented in music culture and how they can (and must) manipulate, subvert, and comment on this marginalized status. There’s no doubt to me that this part of Cervenka helps inform the bullshitless banshee poet she was in the 1980s and remains to be today.

21
May
09

Getting the “Glee”

The cast of Glee, coming to Fox this fall

The cast of Glee, coming to Fox this fall

I was a choirgirl. From sixth grade until I started grad school, I was in some kind of singing ensemble. When I was a teenager, I was in all of my high school’s musicals and hoped to one day be on Broadway. Chamber choir. Church choir. Pop choir. Texas All-State Choir. Concert and Sight-Reading. Solo and Ensemble. Voice lessons. Recitals. Running clinics for my mom’s junior high ensembles. E-T-C. This was my life.

It’s perhaps no surprise that I have a bit of a vested interest in Glee, Fox’s new TV series that focuses on a high school glee club in Ohio. The network ran the pilot after American Idol last night. Here are my thoughts.

First, the pros:
1. I will watch Jane Lynch in anything. She’s awesomely funny and brings some butch swagger to every project. She’s already my favorite thing about the show. I love her take on the tough, unimpressed cheerleading coach.
2. I love that Mercedes, the full-figured African American glee clubber, demands to sing lead and refuses to be in the background. The actress, Amber Riley, can really sing! I also like that she’s quick to announce whiteness, referring to the ensemble’s jock ringer as “Justin Timberlake”. Oh, and she wears cute outfits. I especially liked her sailor outfit at the end of the pilot when she insists on managing the glee club’s wardrobe. I was in charge of our choral program’s wardrobe senior year. I anticipate hilarity to ensue.
3. I think Kurt, the gay boy in glee club, has potential. He is stereotypical, but shows promise as a complex character. Some might think it’s cliched to have a gay teen in glee club but, eh, I knew three gay guys who were in the musicals, including my first boyfriend. It’s a safe space for some of them. Also, I liked Kurt’s rendition of “Mr. Cellophane” from Chicago because a) it’s ironic, as he’s totally not — he’s out and proud and b) it’s poignant, because he’s bullied and unpopular.
4. They totally nailed the characterization of Rachel Berry, the glee club’s aspiring ingenue. She’s determined, alert, ruthlessly perky, consumately professional, and more than a little insecure. And actress Lea Michele, a Broadway veteran, has got pipes!

And then the cons:
1. I can do without director Will Schuester’s totally unnecessary love triangle between his materialistic, castrating wife and Emma Pillsbury, the perfectionist guidance counselor with the cute haircut and wardrobe. UGH. SO OVER LOVE TRIANGLES. If they cut this, Mr. Schuester could actually be shown directing the glee club.
2. Since this is TV, the characterization of glee club is a little far-fetched. These kids have a full band, which seems too expensive. Our pop choir was accompanied by our harried choir director on piano. And a fancy rival school has the girls in a flirty polka-dotted dress when they sing Amy Winehouse’s “Rehab” that seems too expensive and flashy for the average high school show choir. Especially since I’m imagining the girls in this emsemble to have multiple outfits. We just had one black and gold dress and jacket, bless us.
3. I doubt the average high school show choir could get away with singing a song like “Rehab” anyway because of the “mature” subject matter. Again, TV is fantastical.
4. While I like Mercedes and Kurt, they’re pretty broad and tokenistic. As is Tina C., the Asian American girl who, apart from a stutter, has absolutely no defining characteristic. Oh, she does sing Katy Perry’s “I Kissed A Girl” for her audition. I can do with never hearing this song again.
5. Finn, the football star with the gift of song is even more boring than Chris Klein in American Pie. But these guys usually are.
6. Speaking of Finn, I don’t remember choir membership being such a form of social suicide. We had male and female jocks in choir. Several members of our cheerleading squad were featured dancers in the musicals. It wasn’t so much the refuge for the school’s social outcasts as the show chooses to depict it.
7. I don’t love the singing. Overall, it’s very pop. Too nasal, too pinched, too thin. Breath support should come from the diaphram instead of the chest. The singers should drop their jaws and round their mouths. But, it came on after American Idol, so it doesn’t surprise me. Singing has to be commercial here.

Still some work to do, but I’m willing to spend a bit more time with it in the fall.





Contact me via e-mail at feministmusicgeek@gmail.com

 

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