Taylor Momsen, apparently over it; image courtesy of gofugyourself.com
So, did ya’ll know that Taylor Momsen fronts a rock band? I guess that’s why she’s always sneering each time I see her on Go Fug Yourself. All this, and Leighton Meester working toward a pop career too!
Now, I don’t want to seem snide or condescending, especially about a veteran child actress transitioning into adulthood. I don’t want to speculate that her interest in music has developed just as the once-hot teen soap she’s on is starting to cool. Who am I to suggest that the Gossip Girl star’s musical forays aren’t sincere?
Apparently Momsen’s been singing for years and fronts a band called The Pretty Wreckless. While essentially a solo project with some (male) hired-gun musicians, she is the act’s vocalist, costume designer, and primary songwriter. The group has been putting on shows and has recorded a single, “Zombie,” which has a raw sound that suggests Momsen’s listened to a lot of Courtney Love.
Momsen channels Love when fronting her band; image courtesy of buzznet.com
Momsen’s done a lot more to suggest she wants to explore music beyond adding another hyphenate, like one-time would-be pop singers Hilary Duff, Paris Hilton, Lindsay Lohan, and Nicole Richie, who at one point was in a band with model Josie Maran called Darling and was supposed to be working on an alternative-influenced solo project that may or may not see the light. Momsen even plays a bit of guitar as well. I’d hazard she’d do more of it if she’d bulk up. Have you seen her twiggy arms? Homegirl needs to eat all kinds of sandwiches.
But I am a still little incredulous, as I am about Momsen’s entire hipster image, which became public just as Jenny Humphreys was becoming the UES’s edgy It Girl on Gossip Girl. There’s something just way too pre-fab about all of it that makes me wonder if there’s any real difference between Momsen wears skinny jeans and when, say, the Jonas Brothers do it (or, as Jonah Weiner points out in an article Kristen sent my way, when Miley Cyrus hires producers who swipe from lesser-known songs for indie cred). After the controversial but transformative presence Rachel Zoe had in reinventing Nicole Richie’s public image, I work under the assumption that all celebrities have stylists and that Momsen’s no exception, even if she herself is interested in fashion. I can’t help but wonder if similar industrial mechanisms are at work for her and her musical aspirations.
Maybe I’m just being snobby about medium and public image. While I have my doubts about Momsen’s musical pursuits, I never questioned when fellow former child actress Jena Malone released a seven-inch with Social Registry back in 2007 and continued on as the lead singer of The Shoe. Assuredly this has much to do with an appreciation of Malone’s experimental sound.
Jena Malone, in concert; image courtesy of jena-malone.info
But I’d be lying if I said my enjoyment of Malone’s music wasn’t informed by my pre-established fandom of her turns in indie-friendly fare like Cheaters, Saved, and Donnie Darko. It probably didn’t hurt matters that she has lesbian parents, legally emancipated herself as a minor for financial reasons, and appeared in public with a bald head. In short, her outsider persona matched her acting and musical choices. It seemed, to employ that ickiest of value judgements, “authentic.”
That said, I support Momsen’s right to rock out. But I’ll have to hear and see more before I call myself a fan.
Wait, some of you might be thinking. Who is Robin Tunney?
Robin Tunney; image courtesy of tvdramas.about.com
I think Tunney was slated to be a star when she started cropping up in movies in the 1990s. While stardom didn’t happen for her, she’s had steady work, currently starring on The Mentalist, a CBS procedural. She was supposed to co-write a book on feminism with her friend Liz Phair, with whom she worked on the movie Cherish. I’m still waiting for that last one.
For many in my age group, we know her from back-to-back appearances in Empire Records and The Craft. As both movies were slumber party staples in my friend group, featured teen girl characters, and were accompanied by popular soundtracks, I knew I’d need to revisit them.
Empire Records came out in 1995 and developed a bit of a cult following, despite poor reviews and a dismal box office performance. It also instilled a personal desire to work at a record store, particularly an indie fighting to stay that way. At 13, it looked so cool and fun to “work” all day at such a place with hip teens and twentysomethings.
Well, maybe not them specifically, as the characters in Empire Records aren’t believeable as people so much as underwritten Generation X versions of cool kids dreamt up by a team of movie executives: there’s Joe, the anti-establishment boomer-era owner (Anthony LaPaglia); Lucas, the Zen-like hipster (Rory Cochrane); A.J., the sensitive artist in love with the unattainable Corey (Johnny Whitworth); Corey, the wholesome speed freak perfectionist (Liv Tyler); Gina, Corey’s slutty best friend who wants to be in a band (Renée Zellweger); Mark, the stoner (Ethan Embry); Berko, the rocker who clocks in between gigs (Coyote Shivers, who was married to Tyler’s legendary mother Bebe Buell at the time); and Debra, the rebel girl accountant who shaves her head after attempting suicide (Tunney).
Oh, they are so selling out; image courtesy of chartrigger.blogspot.com
The writing is the movie’s biggest problem, though I’ll never understand why casting directors thought someone as boring as Tyler would ever be a huge star (I’d ask this question again later in the decade when Katie Holmes started landing movie roles). The motivations of the characters, though meant to be read as young and madcap, are childish and inconsistent. The boys pine after girls, eat pizza, get high, and glue quarters to the floor. The girls pine after has-been teen idols doing in-stores, alternate between loving and hating each other, and get together with the boys who pine after them. Both sexes deliver such profound lines like “If I can love her in that skirt, than this must really be it” and “I went to rock and roll heaven, and I wasn’t on the guest list.”
That second line is the answer given to a question about bandaged wrists. It’s delivered to withering effect by Debra, potentially the movie’s most interesting character. She’s not glamourous like her female co-workers or sophomoric like her male colleagues. She also seems to have gone through real pain, deeper than the surface angst used to promote OK Soda and perhaps closer to the actual pain brought on by parental neglect and low self-esteem. In the early 1990s, these and other issues were particularly relevant to young girls, some of whom would form or discover riot grrl and queercore and develop their own queer and/or feminist identities. We only get a sense of Debra’s absent mother, resistent intellect, boredom with men, feelings of inadequacy, and the hope for something better.
Note: I’d recommend watching director Allan Moyle’s far-superior Times Square. Rest assured that the tale of two girl runaways falling in love amidst downtown New York’s early-80s squalor will get its due on this blog.
It’s weird that slashed wrists bridge Tunney’s two major performances to date. Clearly suicide, perhaps most unfortunately personified by Kurt Cobain, was on young people’s minds at the time. I’d hedge that this has more to do with class frustration, racial injustice, conflicted feelings about sexual orientation, coming out to unsupportive families and communities, dysfunctional home lives, and a lack of any real support system. I’d also add that it’s an on-going problem.
Absent mothers also connect Debra and Sarah, the latter of whom lost her mother during childbirth. As The Craft was originally pitched as “Carrie meets Clueless,” it seems necessary to point out that these movies feature girls with compromised mother-daughter relationships. Carrie’s mother is a crazed witch. Cher Horowitz, like so many other fairytale heroines before her, lost her mother at an early age and has only an idealized memory of her. Sarah has similar baggage, along with the additional burden of being responsible for her mother’s death. Oh, and carrying on the ability to perform witchcraft. That’s a hell of a lot for any teenage girl to shoulder, especially when she’s moving to Los Angeles with her family.
A heartening aspect of The Craft , no doubt motivated by how successful Clueless was, is the presence of girlfriends. Sarah meets shy Bonnie (played by Neve Campbell) and becomes friends with a trio of Goth girls. Two other movies came out in 1996 that focused on girl gangs – Girls Town and Foxfire. For a more nuanced analysis of these two movies and their depictions of homosociality and developing feminist politics, I highly recommend checking out my friend Kristen’s thesis Revenge, Girl Style.
The Craft entertains the progressive potential of girl friendship, particularly for outcasts. There are also hints at the queer possibilities of homosocial bonding and witchcraft. It even contains racially charged moments, particularly when Rochelle (played by Rachel True), the coven’s lone African American member, casts a spell on Laura Lizzie (Christine Taylor), a popular blonde who is on the swim team with her. After enduring Lizzie’s racist comments about her hair, Rochelle turns her bald, thus rebelling against normative, white-centric notions of feminine beauty.
But these suggestions are sidelined. Because what the movie is really about is the battle between Tunney’s kind-hearted Sarah and Fairuza Balk’s destructive ringleader Nancy, who is jealous of her frenemy’s natural aptitude for witchcraft. It should also be noted that Nancy is working-class and coded as queer. The movie makes a considerable effort to undo her queerness, putting men in between her and Sarah, whether they be ex-boyfriends or Manon, the supernatural male figure that the girls worship. The movie ends with Nancy trying to kill Sarah, resulting in a showdown that tears the group apart, causes Sarah to move, and leads to Nancy being institutionalized. The final shot is of Nancy in a straight-jacket trying to fly out of a padded cell. The movie’s message: we are the weirdos, mister. Just don’t expect us to stay friends or keep a hold of our sanity. So much for sisterhood.
Nancy's farewell; image courtesy of channel4.com
Sisterhood is often lacking in movies, but is emphasized to market teen movies, if only to tap in to the girl market. But much of this was eclipsed in story development to make way for more lucrative prospects, none more pronounced at the time than the soundtrack. A considerable number of American teen movies in the 1990s featured a soundtrack, many boasting songs by alternative rock artists. Unlike The Craft and Empire Records, and more in line with All Over Me, Girls Town and Foxfire paid particular attention toward showcasing female artists, particularly those closely associated with hip hop and the then-waning riot grrrl movement. Scholars like Jeff Smith and Mary Celeste Kearney have addressed this in their work, theorizing that the soundtrack served as a way to cultivate potential audience markets and a source of textual identification for fans.
While female artists are present on the soundtracks to Empire Records and The Craft, they’re not the focus, perhaps out of fear of alienating a broader audience. This might further explain why The Craft soundtrackfeatures covers of popular songs from lesser-known acts. Our Lady Peace contributes a version of The Beatles’ “Tomorrow Never Knows,” Heather Nova covers Peter Gabriel’s “I Have the Touch,” and Letters To Cleo take on The Cars’ “Dangerous Type,” a tactic they’d repeat when covering Cheap Trick’s “I Want You To Want Me” for 10 Things I Hate About You at the end of the decade. And let’s not forget the double-nostalgia of former Psychelic Furs’ front man Richard Butler covering The Smiths’ “How Soon Is Now” with his post-Furs project Love Spit Love.
Cover to "The Craft" soundtrack (Sony, 1996); image courtesy of thesoundtracktoyourlife.co.uk
A major problem both of these movies share, and is evident in other titles of this period and in the Brat Pack movies of the 1980s, is the need to broadly define its characters as members of a generation, rather than as complex young people with particular problems oftentimes informed by their identities. And while ennui and an ironic fluency in popular culture were markers for Gen X, these young adults were more than just sneering (white) kids in flannel, combat boots, and barettes. At least off-camera.
Oftentimes, they were frustrated by how little high school and a liberal arts education could get them in a job market, particularly during the late 1980s and early 1990s when the economy had yet to recover from the 1987 market crash. They were annoyed at the shrine their parents built to the 1960s, as it was clear just how empty and hollow their promises of revolution were. In some ways, they were no different than people my age or boomer hipster Paul Kinsey on Mad Men, turning to interesting records, movies, books, and TV shows, but knowing they wouldn’t make them any happier, politically mobile, or economically viable.
Michael Gladis as Paul Kinsey, proving the every generation has its hipster; image courtesy of readingunderthecovers.blogspot.com
Some of these people formed bands, often annointed with glossy but unremarkable one-word monikers: Sponge, Drill, Lustre, Cracker, Elastica, Spacehog, Dig, Hole, Belly, Hum, Bush, Toadies, Oasis . . . In a particularly cruel example of market imperative, many of these bands broke up or were without major label record deals by the end of the decade.
I still have Elastica's debut album!; image courtesy of forgottenfavorite.com
But it’s hard to convey all of this in a 90-minute movie, especially one that hopes to cash in on the wages of the very demographic these popcorn flicks were hoping to represent. Some did a decent job of conveying this generation’s ambivalence, particularly indies like Kicking and Screaming. I’d also add that Reality Bites highlights these problems, even pointing out the crass ways in which corporate America capitalizes on the very market its created. While I wish Winona Ryder’s filmmaker character Lalaina didn’t end up with Ethan Hawke’s slacker Troy, I understand why she can’t be with Michael (played by director Ben Stiller), who works for an MTV-type network that makes worm’s meat out of her documentary about her friends.
Richard Linklater’s second feature, Dazed and Confused, did a considerable job at suggesting that Generation X inherited their sense of slacker frustration (and detached nostalgia for Schoolhouse Rock and The Brady Bunch) from their parents. That Linklater cast a bunch of twentysomething unknowns like Joey Lauren Adams, Ben Affleck, Rory Cochrane, Adam Goldberg, Jason London, Matthew McConaughey, Parker Posey, and Marisa Ribisi to essentially play the teenagers and young adults who would become their parents may strengthen Robin Wood’s argumentthat Dazed is a horror film.
Some television shows also did a good job articulating the nuances of the slacker era. I’d offer up British programs like Spaced, along with MTV’s Daria and ABC’s My So-Called Life. The latter featured an angsty girl protagonist, complex teenage characters, depicted boomer parents being just as clueless and angsty as their brood, and created an immortal stoner heartthrob named Jordan Catalano (played by Jared Leto), whose band Frozen Embryos changed their name at the end of the series to perhaps the most perfect of Gen X band names: Residue.
Angela Chase (Claire Danes) with the object of her affection; image courtesy of thefbomb.org
But it’s always different for girls, and unfortunate that Tunney and many of the actresses of her generation were not given the consideration they deserved (though I love that Austin Chronicle writer Margaret Moser fancies herself as being like Balk’s character in Almost Famous). Some may attribute this to their flat delivery or lack of believability, but I’d wager that this has more to do with poor character development on the part of screenwriters and the industrial emphasis on youth than it does on the actresses. At 19, Kristen Stewart is playing the slouched-shoulder ingenue of a multi-million-dollar film franchise, its latest installment complete with a soundtrack featuring of-the-moment, indie and indie-friendly artists like Bon Iver, St. Vincent, Lykke Li, Grizzly Bear, and Thom Yorke. I only hope she has that sort of star power at 25.
Kristen Stewart at the "New Moon" premiere in Los Angeles; image courtesy of justjared.buzznet.com
Press clippings of Ella Mae Morse; image courtesy of swingmusic.net
Tonight’s entry is in honor of my friend Liz, who may or may not be studying for her law school finals right now. She’s also the person who brought Ella Mae Morse to my attention, apparently finding her when doing a Google search on who the first person was to use the word “homey.” Apparently it’s this Texan jump blues singer.
Pretty awesome, right? I’ll make sure to remember the late Morse, especially when trying to map out the origins of rock music and the role women and girls played in shaping it. Powerhouse rockabilly gals like Wanda Jackson and Janis Martin are often cited as examples of female contributors to rock’s development, as they should be.
Starting in the late 1950s, Jackson was referred to as the female Elvis; image courtesy of oldrecordclub.wordpress.com
. . . So did Martin; image courtesy of amazon.com
Their influence continues to be felt, perhaps most explicitly in contemporary singers like Imelda May, whose Irish heritage evinces that rockabilly isn’t exclusively a Southern thing. And perhaps even more inspiring is the fact that Jackson and Martin performed well into their autumn years. Jackson continues to perform occasionally and was inducted into the Rock and Roll Hall of Fame earlier this year. While unfortunately not as well-known as Jackson and forbidden from recording during the 1960s because of an abusive marriage, Martin worked many a stage until her death in 2007.
And there always seems to be an interest in determining rock music’s origins. Oftentimes, at the risk of seeming cynical, these moments of public interest occur, or are manufactured, when a record label decides to release a box set of some obscure artist’s work. While the market logic cannot be overlooked and should not be ignored, I think there’s considerable value in preserving these early recordings, and with it the memories, of obscure, bygone musical artists — particularly when they are female.
Some speculate rock’s origins extend into vaudeville, thus stretching the timeline of what many believe to be a form that began in the 20th century into the late 19th century. Jody Rosen has done a great job paying tribute to women like Sophie Tucker and Eva Tanguay. Both got their start on the vaudeville circuit, cultivated tremendous followings, nurtured rebellious streaks, and were full-fledged divas. They confronted societal expectations of female beauty and sexuality and expanded rock culture’s ethnic origins (Tucker was Jewish, Tanguay was Canadian). And through their unfortunate dabblings in blackface, at one time an accepted performance practice, they remind us that popular music has always had a troubling relationship with race, one that we should always work toward improving.
Sophie Tucker, pro-sex feminist; image courtesy of jwa.org
Tanguay, delighting in her own assets; image courtesy of britannica.com
Perhaps most poignantly, both women were all but forgotten after their time. Due to developing recording technologies and digital archival practices, many of Tucker’s recordings have since been preserved. Tanguay only recorded one song, the anthemic “I Don’t Care.”
I’d like to add Ella Mae Morse into that pantheon as well, as she bridged two musical genres and historical periods, thus further developing the on-going development of popular music’s past and future.
