In her first appearance on Saturday Night Live’s season finale last May, St. Vincent performed “Digital Witness.” Apart from being struck by how great she sounded (more of an exception than a rule for SNL), I found it compelling how singer Annie Clark harnessed the televisual potential of her stage show by referencing her nervous tics in director Chino Moya’s “Digital Witness” video. In the clip, Clark punctuates the ends of phrases by stiffly nodding her head to the side as green-, yellow-, and blue- replicants march, tap, and roll pencils in a Futurist office space and business park.
On SNL, Clark and bassist/keyboardist Toko Yasuda elaborated upon the video’s dance routine—created by choreographer Annie-B Parson—so that it scaled for both television and the stage. Their movements were more exaggerated. They used dance as an opportunity to interact with each other and their instruments. Clark also took her pulse and performed other gestures that weren’t in the clip. The performance simultaneously recalled collaborator David Byrne’s “big suit” dance to “Girlfriend Is Better” in Stop Making Sense and the Supremes’ Ed Sullivan Show appearances. In truth, you can’t have one without the other. That’s probably why Byrne also commissioned dances from Parson. After all, punk bands learned how to dress alike and write short songs by playing along to the Shangri-Las and the Crystals.
St. Vincent’s choreography visualizes the song’s commentary on technology’s role in turning existence into a series of naturalized, performative gestures and interactions. Clark’s jerky execution suggests that these routines can cause us to short-circuit, particularly when we buckle under the restraint of isolated tasks or when people don’t notice that we’re doing them. Yet there’s also a ritual to mundane activities like checking email, browsing through a reader feed, and refreshing Facebook—things I do while sipping my morning coffee.
Though these gestures are not explicitly religious (though they could be, given Clark’s thematic convictions), they appear weightier and more deliberate when represented through choreography. In this way, St. Vincent’s “Digital Witness” dance recalls EMA’s routine for her apocalyptic 2010 single, “California,” a place vulnerable to a Biblical reckoning precipitated by menstruation, youth, loss, paranoia, and other human follies rescued by the divine. Through dance, Erika M. Anderson articulates the slippage between the sacred and the profane. In her hands, a weapon becomes the cross.
In Playing Along: Digital Games, YouTube, and Virtual Performance, Kiri Miller advocates the pedagogical utility of video games like Guitar Hero, as well as online instructional videos. By mobilizing “genres of participation,” a concept first advanced by cultural anthropologist Mizuko Ito in her co-authored book Hanging Out, Messing Around, and Geeking Out, Miller convincingly argues that gameplay can help users develop their creative and technical skills as musicians. It also problematizes neat distinctions between amateur and professional instrumentalists.
I’m not sure how to apply “genres of participation” to choreography. I can. Learning to perform Michael Jackson’s “Thriller” dance requires more than rote memorization. You have to be able to count. You have to be able to contort your body in time to the music, anticipating every turn and kick. Dancing as part of a crowd also requires sensitivity not just to the recording, but to ensemble’s internal rhythm. Too much spin or stretch in one dancer’s steps can ruin the illusion of uniformity. But there’s also virtuosity at work in dance that blurs easy distinctions between who originated the routine and who imitated it. I remember seeing two female cheerleaders face off to Britney Spears’ “Oops!…I Did It Again” at a high school Sadie Hawkins dance. By the first chorus, I was so mesmerized by their precision and skill that I had trouble identifying where the Britney on television ended and the Brittany in the cafeteria began.
Jackson and Spears’ dance routines clearly exist as genres of participation. Fans demonstrate their commitment to pop idols by replicating their moves. For some, such performances also serve as an indication of their own talents. Spears became a performer by playing along with Michael Jackson. Historically, dance is how fans are perceived to participate in pop music. As scholars like Norma Coates have persuasively claimed, rock was legitimated through discourses that removed the genre from feminized leisure activities like dancing and situated it within hegemonically masculine cultural practices like criticism, collecting, and instrument instruction. In order for rock to function as a genre of participation, you could pick up a typewriter, a record, or a guitar. You couldn’t get down.
At the risk of making yet another facile comparison between contemporary concept-oriented female recording artists and Kate Bush, the gestural choreography on “Digital Witness” and “California” recalls how Bush used her face, hands, and body to represent Heathcliff and Cathy’s desire on “Wuthering Heights.” Of course, such comparisons require us to consider how Bush’s decision to train under renowned choreographer Lindsay Kemp might serve as indication that she first became “Kate Bush” by playing along to David Bowie.
Ultimately, what I find compelling about St. Vincent and EMA’s choreography is how it opens up rock as a genre of participation by reclaiming dance as one of its essential features. Most of St. Vincent and EMA’s fans might still show their appreciation by picking up guitars and raising their voices, which is great. I’ve never seen people dance along to “Digital Witness” or “California” in concert. I haven’t bothered to learn the routines myself, which I should reconsider. But as a fan, I cannot deny the importance of those gestures, what they mean to their corresponding songs, and how it allows fans different ways to play along with their heroines.
Check out my “Origins” episode of Feminist Music Geek Presents, which focuses on songs that you may be more familiar with as samples or as covers from other recording artists.
Here’s the “film music” episode of Feminist Music Geek Presents…, for your streaming pleasure. The photo is a screen grab from a scene in Pedro Almodóvar’s The Flower of My Secret, which includes a TV broadcast of a Chavela Vargas stage performance. The singer is one of the director’s muses, and I think that image nicely captures what this episode is going for in its exploration of original soundtrack material, soundtrack covers, and songs about women’s relationship to filmmaking and spectatorship. Also, while I didn’t officially associate the playlist with the UW-Cinematheque’s summer series (no calls to action), they do have a very cool program this season. I’ll see you later, Faster, Pussycat! Kill! Kill!
1. Currently, I can only afford SoundCloud’s base membership of two free hours (summertime is a lean period for grad students). So, for now, I will only make two playlists available at a time. As a result, I had to temporarily delete the SPECTRUM playlist. However, I am keeping all of the original files and will make them available in the fall, when I can afford to pay for membership. I’ll keep y’all posted.
2. I tried to upload my third episode earlier this morning, but I was unable to post it to SoundCloud because it included ESG’s “UFO,” which violates the terms of the band’s copyright. While I actually based the ORIGINS playlist around this much-sampled single and the group’s frustration with unauthorized or appropriated usage of their material (i.e., Sample Credits Don’t Pay Our Bills), I respect ESG on this issue and will post an edited playlist next week with the track omitted. While I don’t want copyright law to determine how and when people listen to my show, this might be a good reminder for folks to tune in to WSUM on Fridays at 9 p.m.
3. In an effort to make the show more social media-friendly, Feminist Music Geek Presents… now has a hashtag. #fmgpresents
4. Feminist Music Geek Presents… is now taking submissions. If you are a female-identified musician and would like to submit music to FMG Presents… for review, DM me and I’ll provide you with contact information.
I returned to college radio late last month with my own show. Feminist Music Geek Presents… is currently in its third week. It honors women’s historical and contemporary musical contributions across genre. However, while I hope people are tuning in to WSUM on Friday nights at 9 p.m. to listen to the program, I wanted to give listeners the ability to stream my playlists afterwards. Here’s “Spectrum,” the first episode of FMG Presents… I’ll post a new episode each week.
Three things to note.
1. Each show focuses on a particular theme, which I explain at the beginning of the episode. Themes provide a useful organizational framework and allow me to put recording artists in dialogue with each other in a new context.
2. I’ll be excising WSUM-specific content (i.e., PSAs and underwriting) from the episodes, because community radio and digital streaming sites serve different entities.
3. As a result, I’ll limit my voice breaks to the introductions that frame the episodes so the music can be the focus. Hopefully, the set list serves as a sufficient guide.
I’m having a blast putting these sets together and I have lots of ideas for future episodes. If you want to make requests, recommendations, or suggestions, follow the blog on Facebook and Twitter. I’ll be on the air this summer on Friday nights from 9-10 p.m. (CST). Tune in, and make sure to check out the rest of WSUM’s fine music and community programming. Happy listening!
In the first chapter to her book, The Promise of Happiness, Sara Ahmed makes the following argument about the meanings that we put into the things we own:
If we arrive at objects with an expectation of how we will be affected by them, this affects how they affect us, even in the moment they fail to live up to our expectations. Happiness is an expectation of what follows, where the expectation differentiates between things, whether or not they exist as objects in the present (29).
This makes a lot of sense to me. Records are my happy object.
Objects accumulate meanings because of the associations and feelings we bring to them. On last week’s Mad Men, an engineer helps install an IBM 360 in the middle of SC&P and explains computers’ dark thrall to Don Draper: “It’s been my experience these machines can be a metaphor for whatever’s on people’s minds.” Conveniently, recent Mad Men episodes have been framed by promos for AMC’s new period drama, Halt and Catch Fire, which details the development of a fictional Texas-based computer company in the early 1980s. In the clip, a character states: “Computers aren’t the thing; they’re the thing that gets us to the thing.”
Ahmed would love that sentence’s circularity. Also, you could replace “computers” with just about any other word and the sentiment would still hold. In Ahmed’s mind, the thing we’re trying to get to is happiness, which we never completely arrive at and often only recognize in retrospect. I was reading Ahmed’s book during Record Store Day, which my partner and I observe every year. As I thumbed through the crates, posted images of my findings, pored over the covers, filed away my vinyl, and threw on my newly purchased copy of the Life Without Buildings reissue, I thought about what expectations collectors put into records. Technologies are often thick with possibility. We may think that a new gadget or toy will be “it.” Instead, we frequently integrate some of their features into our daily lives (load it, check it, quick – rewrite it). We only notice their object-ness when they don’t work (buy it, use it, break it, fix it).
I’m literalizing Ahmed’s use of the word “object.” She uses the term to express how individuals orient themselves within culture. According to Ahmed, people can be objects as well. When they congregate, they often objectify one another. Ahmed argues that this results in children becoming distinctly burdened as symbols for hope. That could explain why the dinner table is a volatile place for some families. But we often symbolize people and risk turning them into our happy objects. It also explains why making a mix for someone always means more than putting a sequence of songs together. The mix is the thing that gets us to the thing.
There’s a curatorial function to record collecting, but it doesn’t mean anything without people. Building a collection implies a sense of discernment, which is learned from living in the world and absorbing social norms. This ascribes unequal value to objects, which we should always question. You may ask yourself if a piece of music “deserves” to be on vinyl and folded into your collection. You may also get rid of things because of unfortunate associations. How often do break-ups forever alter your relationship to music? How often is that association shame? “Happiness is an expectation of what follows,” indeed. Because of a boy, I started college with three Blink-182 albums in my CD collection (including the yellow version of Take Off Your Pants and Jacket, the one with “Fuck a Dog” on it). Other records—Björk’s Homogenic; PJ Harvey’s Stories From the City, Stories From the Sea; The Dismemberment Plan’s Change—remind me of that time, but they made it to the other side and accumulated new meanings for me. But when I was ready to let it go, Dude Ranch didn’t even make it to a used record store. I flung it into a parking lot. Part of it was me being spiteful; it was a gift. Part of it was me applying feminism to music snobbery; I was done with pop-punk dick jokes. Part of it was me being a music snob; at 19, pop-punk was my bad object. A big part of it was shame; I didn’t like who I was when I was with him.
Sharing and combining record collections is an act of faith. What if you hate your partner’s records? What if you lose things? What if you end up having to divide everything back up into boxes and go your separate ways? I’ve merged my record collection with another’s exactly once. The ease with which we did it eight years ago was a good sign. We’ve schlepped our records to three homes and two states, but the process never bothered me. When I look at our records, I like being able to see what was him before me (The Aquabats), what was me before him (Depeche Mode), what we don’t share as a couple, what we brought to each other, and what became us.
You’ll never have enough records. There’s a beautiful sadness to that fact when you’re a collector. I’ll never hear all of the necessary sounds in the world and I’ll never have enough shelves to house them in one place and that is very comforting. Of course, technological progress has radically changed our perception of ownership and storage. Digitization has made just about anything available through both legal and illegal means and we can place that stuff in increasingly smaller, light-weight, and ephemeral spaces. Toward the end of a long, uncertain semester, I started to scan all of the paper I accumulated during course work and teaching. I did this to achieve a sense of control. I may not know what shape my dissertation will take or what its impact will be. But I imagine being happier and more at ease once the stacks on my desk and floor disappear. However, new stacks will probably spill over in their place. Happy objects are messy.
What I’m talking about is gathering. In Queer Phenomenology, Ahmed waxes poetic about tables and returns to them briefly in The Promise of Happiness. According to Ahmed, the table is a writing surface, a technology that bears the traces of its use, a gathering space, and an item that recedes into the background until certain interactions cause its presence to intensify (2006). Her meditation on tables reminds me of how scholars like David Morley, Lynn Spigel, and Ann Gray have theorized the television and the political significance of individuals and families’ interactions with it in the home. It also made me think about when Mary Kearney described television as something you need to dust during a class activity in her feminist television criticism graduate seminar. I never looked at another television set without thinking about dust, and I think about what else accumulates in my home full of objects. Records gather meaning in dust and in scuff marks. We put them there.
Last fall, I saw my former thesis adviser, Mary Kearney, give an excellent presentation on sparkle, girlhood, and post-feminist luminosities. In The Aftermath of Feminism: Gender, Culture, and Social Change, Angela McRobbie identifies luminosities as spotlight effects of power that bring young women forward as individualized subjects. While luminosity promises to make young women legible cultural subjects, this visibility often becomes a form of surveillance. Kearney takes up sparkle as a form of luminosity that is simultaneously glamorous and vexingly ephemeral for girls and young women. Toward the end of her talk, she argued that scholars should consider what queer theory—and queer political actors like drag queens and glitter bombers—can teach us about sparkle. At the bar afterwards, I asked her what glitter can teach us about throwing shade.
As a Drag Race fan, I’m familiar with throwing shade as a vital historical practice within drag culture. To throw shade is to insult someone. For especially quick, observant queens, it’s an art form. There’s an intellectual component to throwing shade, as indicated by associative terms like “reading.” It is effectively summarized in a segment of Jennie Livingston’s essential 1989 documentary Paris Is Burning, which investigates the New York drag ball scene.
Dorian Corey’s comment at the end of this scene suggests that reading is more overtly performative and communal, whereas shade is a subtle, more ephemeral form of subterfuge. Shade complements luminosity. For female celebrities, luminosity is a double-edged sword. What’s the difference between a red carpet appearance and a mug shot? But drag queens frequently harness the light sources found in cosmetics, sequins, and rhinestones to honor feminine strength and often to challenge conventional femininity. They help cast sparkle in a different light. They sparkle to deflect shade. But when a queen shines, she may also become vulnerable to another queen’s shadow, particularly if her light source is basic or counterfeit. Glitter reflects light and the dirt underneath it.
This is where reading comes in as a “fundamental” practice in drag culture. To be insulted is to be recognized. As a perennial mini-challenge on Drag Race, “the library” is a space that honors queens’ ability to be critical of her sisters in a quick, perceptively humorous fashion. Particularly effective queens, like season two contestant Jujubee, can “read for filth” by isolating a queen’s flaws or weaknesses and critiquing them in devastating fashion.
The current cast of Drag Race includes frontrunner Bianca Del Rio, an insult comic with a classic Hollywood aesthetic. In an early workroom appearance, she refers to her punchlines and put-downs as her “Rolodex of hate.” What I especially like about this phrase is how it turns anger into an index. This phrase suggests that emotions have histories with their own root causes and stories. It also turns this particular negative emotion into a technology, a tool that can be used to navigate a variety of social interactions.
A “Rolodex of hate” sounds like a “structure of feeling,” a concept popularized by cultural theorist Raymond Williams to express how certain cultural experiences are understood through representation and felt in everyday life. But a Rolodex is a reference system that allows its user to refer back to pre-existing connections and associations. In this context, “Rolodex of hate” reminds me of what Heather Love refers to as “feeling backward,” or a distinctly queer experience or representation that speaks to subjects’ negotiations of negative or ambivalent feelings like nostalgia, resentment, self-loathing, shame, and despair. It also raises a question: what is knowledge’s relationship to anger?
This is the question that I have for the video to Zebra Katz’s “Ima Read.” I work for a university, so I was immediately struck by the clip’s location. First off, an empty school will always look like the setting to a horror movie. This is why you will never find me at a library after 7 p.m. But schools are already scary because they’re sites of learning. As a result, they enforce ideologies of knowledge. School is a source of power. That’s where I learned how to diagram sentences and solve equations. It’s also where I learned dominant historical narratives, literary canons, bad words, and political values that I would later challenge and undo … by staying in school. At school, teachers and students also learn how to communicate and socialize with their peers and each other. Such congregation can be difficult for subjects who are persecuted and endangered because of their differences and their inability (or unwillingness) to adhere to norms that are toxic in their restrictiveness. It can also be disorienting, particularly since students and teachers’ actions are subject to scrutiny but its source or intent is not always clear.
Apart from the video’s setting, I’m struck by Zebra Katz and Njena Red Foxxx’s lyrics. I’ve written elsewhere about the politics of negative reinforcement, using Azealia Banks’ “212” as an example. The rappers’ extensive use of the word “bitch” cannot be ignored, though we should recognize that the word has different meanings when it is activated by a woman or a queer man. But I’m also interested in its interplay with “college,” “knowledge,” “dissertation,” “classroom,” “outline,” “cohesive,” “lunchtime,” “first period,” and “thesis.” Schools circulate ideologies through discipline. We tend to associate “discipline” with official codes of conduct that sanction certain behavior and academic practices. Discipline also circulates through less formal means. Subjects are also disciplined by schoolyard fights, incriminating gossip, and withering glances. But sometimes, anger is coded through refinement. In a graduate seminar, you might say “I find the author’s argument problematic” or “I hear what you’re saying, but I quibble with you about …” Such niceties allow you to make your point, even if you’d rather yell and throw things instead. That tension is what I find most compelling about “Ima Read”; Katz and Foxxx appropriate scholarly decorum to use it as a weapon instead of as a euphemism.
I try to lead a simple, fulfilling life; anger is a part of that. Yoko Ono begins “Revelations” with the line “Bless you for your anger, it’s a sign of rising energy.” As a feminist, I am often furious about actions and events—however subtle, however seismic—where people and various -isms ingratiate themselves into cultural representations and everyday life in order to oppress and maintain the dominant order. Sometimes I just cry. This is why I’ve never understood how weeping is denigrated as feminine. I reject such binaries and how they devalue women and femininity by denying their connections to “masculine” emotions like anger. And crying is never a dainty, submissive act for me; it destroys my face. But depending on the circumstances, I also respond with confrontation, with inquiry, with silence. As Ono’s lyrics suggest, such energy has multiple potential outcomes. Anger is productive. It transforms. But what can we do with these energies? How can we use it to teach and what can anger teach us?