Okay, so M.I.A.’s divisive third album, /\/\/\Y/\, has been out since early July. Its official release was on the 13th, though she “leaked” it on her MySpace page earlier in the month. Of course, the release of lead single “XXXO” and the music video for “Born Free” ramped up anticipation, as did her sound-bite shit-talk toward Interscope label mate Lady Gaga.
Pitch escalated when Lynn Hirschberg’s scandalous New York Times profile damaged the M.I.A.’s profile, prompting folks to provide advice for how to put her suddenly waning career back on track. Back in 2007, M.I.A., LCD Soundsystem, and Panda Bear topped many critics’ best-of lists (and dazzled this moi) with albums that expanded the studio boundaries of fringe-audience pop music. All of these artists release follow-ups this year. James Murphy has made it through his most recent foray relatively unscathed. I imagine that Panda Bear’s Tomboy will be kid-gloved as a musical evolution while M.I.A.’s self-titled /\/\/\Y/\ will be framed as a manic detour. How’s that for sexism?
I’ll admit some bias. I’ve been an M.I.A. fan since I saw two girlfriends execute the “Galang” dance with perfect synchronicity at a college party. Her first two albums rank amongst my favorites of the decade, though I’m always aware of how middle-class and white I am when I pump “Paper Planes” in my Mazda 626. But for me, there aren’t that many female artists at the level of fame she’s achieved who consistently relish in having pop culture ram against political insurrection. As Jessica Hopper put it in her review, she makes pop for capitalist pigs.
But I’ve also been critical of M.I.A. She was the subject of the first presentation I gave at a national conference. At the 2008 PCA/ACA conference, I proposed that her deliberate use of b-girl fashion projected a subversive racialized femininity. Predictably, this resulted in the Sri Lankan refugee turning outdated, second-hand designs into a hot commodity once she reached a certain level of fame, making her a hipster icon for designers like Marc Jacobs and retailers like American Apparel and Converse. Unfortunately, the current backlash was bound to happen.
Some folks wrote incisive commentary on Hirschberg’s article, evident in LaToya Peterson’s Jezebel article and Sady Doyle’s Tiger Beatdown piece. Unfortunately, the piece irrevocably skewed the reception of M.I.A.’s new album, forcing buried tensions to surface around the actual political merit of her artistic contributions that previously went unquestioned. Thanks to this article, many critics now seem to think she’s crazy, phony, constructed, and untalented (though unable to admit that they’ve been had, as Arular and Kala were almost unanimously praised). Much of this criticism seems short-sighted and blind to how popular opinion is engineered. Apart from explicit references to Hirschberg’s profile, its influence is particularly evident in the annoying ubiquity of the term “agit-prop,” which has lost all meaning for me.
So now that the album has been out for a few weeks and writers don’t have to play hand pile with Twitter, how about we calm down? M.I.A.’s third album is not that bad. Actually, it’s pretty good. More to the point, it’s remarkably consistent with her previous offerings, leading me to wonder why folks are just now getting annoyed with her tendency toward mock-incendiary sloganeering and posturing. Let’s put things in perspective, shall we?
Oh and let’s also get truffle oil French fries out of our minds as a symbol of her waning credibility. Like it’s hard to find a basket of those in Los Angeles. Matter of fact, I remember sharing a pizza topped with truffle “essence” at the Brick Oven before a Gravy Train!!!! show a few summers back. I was doing some contract voice-over work at the time, which wasn’t especially lucrative but could afford me to go in on a $10 pie. Also, I find Maya and fiancé/Seagram heir Ben Brewer’s decision to turn a Brentwood mansion into a squat for their friends a far more interesting application of wealth, perhaps more clearly indicating the couple’s political values.
If I rated things on a scale of 10, I’d give /\/\/\Y/\ a 7. It retains much of her signature while loosening its grip periodically to incorporate dub and industrial’s influence into her sound. It meanders a bit and lags toward the end in a free associative haze, not unlike fellow pop iconoclast and mother Erykah Badu’s New Amerykah Part Two. For me, its tangential feel simulates the non-linear nature of online interaction that’s foregrounded in the album art as well as the typing sounds and the mantra that comprise opening track “The Message”.
As an album, /\/\/\Y/\ doesn’t pack the immediate wallop of her first two albums — particularly the breakthrough Kala, which made her a household name and also guaranteed that she’d disappoint people after her Grammy performance, involvement with Slumdog Millionaire, and musical cameos in movie trailers.
However, I’d put the compressed energy of “Steppin’ Up,” “Born Free,” and “Meds and Feds” up there with “Bird Flu.” I also like the contrast with smoother numbers like “It Takes a Muscle,” “Tell Me Why,” and “Space.” I side with Ann Powers’s reading of “XXXO” as a statement about the problematic nature of constructing a pop star and a commentary about M.I.A.’s assumed role as a producer’s muse. I’m fine with the pro-weed chorus to “Teqkilla,” as it plays like a commentary on the post-ironic hipster inanity of a Nylon party that’s honoring her. And if Mark Richardson believes the lyric about Googling yourself in Discovery’s “Orange Shirt” captures “the low-level digitally assisted narcissism of the current age,” I wonder what he makes of M.I.A.’s line in “It Iz What It Iz” about having discussions with her partner while playing Wii.
Part of what prevented me from writing this piece earlier is the inability to reconcile her status as international pop star with her national heritage and cultural origins. Recently, I was having a sloshy party conversation with my friends Alex and Jessalynn about this problem. They proposed that M.I.A. has mythologized her family’s move from war-torn Sri Lanka to London to the point of distortion. They were skeptical of how she got to London, noting that her family must have some connections gained through privilege that the pop star is obscuring to lend credibility to the marginal cultural position she’s defined for herself. Fair point, because while London has a considerable immigrant population, I do wonder what educational programs were offered to a South London teenager that granted her enrollment at St. Martin’s College. I am also troubled by how a pop star is expected to speak on behalf of her home country’s systemic oppression, particularly as she grows more distant from its citizenry while exploiting a telegraphed representation of her heritage for profit.
Yet I find these set of issues especially interesting, particularly as many of our contemporary female pop stars make interchangeable hits about partying in appropriated pan-Native American couture or cupcake bras. I’ll take M.I.A.’s recent Late Show performance of “Born Free” over any of this nonsense. There may not have been gun shots to censor this time, but the army of M.I.A. avatars bested Eminem’s VMA performance of “The Real Slim Shady” and Suicide’s Martin Rev bleating out the sampled riff to “Ghost Rider” created televisual drama. M.I.A. might be a frustrating pop cultural figure and a guaranteed sell-out, but she’s far from boring.
So W just dropped news that Joanna Newsom has a proper follow-up to Ys and the subsequent Joanna Newsom and the Ys Street Band EP, the particulars to which twentyfourbit.com elaborated, all of which I know about thanks to GRCA’s Emily Marks.
Now, I’m not sure why it’s taking her so long to make another full-length, which I’m assuming Drag City is releasing. Some might speculate that her hiatus might be due to her relationship with SNL‘s Andy Samberg. And while I have no problem with giving Samberg a good feminist hard time, I’m not entirely sure if her absence can be attributed to playing house. With recent appearances in trendy fashion magazines like W, much as she did earlier in her career with publications like PAPER, I think it might have something to do with playing dress-up.
Yikes! I realize those last two sentences might have infantilized the singer, something choruses of music critics do any time they call her voice “child-like.” What I mean is that Newsom has been mingling in the fashion world. Perhaps it’s no surprise that a long-haired, full-lipped, leggy white lady recording artist can get designers to take notice. However, I find it particularly interesting who she’s syncing up with, how this might help construct her image, and what all this might suggest about the commodification of indie. Because she’s not just putting on Armani. She’s friends with Rodarte, waxing pretentious about the collaborative process and wearing their designs to in-the-know, downtown fêtes.
Sisters Kate and Laura Mulleavy, who created a label honoring their mother’s maiden name, Rodarte, have made quite a splash in the fashion world and on the red carpet over the past few years. They seem like cool ladies with whom I’d definitely want to watch some movies. Yet I’m still on the fence about their decidely avant-garde design aesthetic. I almost like a lot of it, but it gets way too drapey and twee at times — particularly when factoring in the cost.
Natalie Portman and Reese Witherspoon‘s dresses for the 2009 Oscars were vivid shades of pink and blue, but the knotty bodice patterns and woozy detailing made me a bit nauseous. Similar situation with the dress Tilda Swinton wore for a premiere of The Curious Case of Benjamin Button — loved the color palette, wanted to rip off the sleeves. And in theory, I like the Rodarte sweater Kristen Stewart wore in last January’s Teen Vogue, but in actual practice, I have a hunch that I could find some moth-eaten angora free of charge if I just brave the family attic.
That said, I like that Rodarte work with retailers like the Gap and Target to make their clothes more accessible and affordable. And they have made some killer, coveted items that I’d snap up if I had the money.
But Newsom and Rodarte seems an interesting match. Though musicians pairing up with designers is nothing new (see also: Cher and Bob Mackie, Madonna and Jean-Paul Gaultier, Courtney Love and Christina Aguilera representing Versace, M.I.A. representing Marc Jacobs), something seems pretty perfect with the alignment here. Perhaps with the three ladies’ talk about collaborative processes, we’ll get to see a Newsom-designed collection, as we did with Chloë Sevigny’s 2008 collection for Opening Ceremony.
This pairing might be read alongside what commercial ventures Newsom has entertained. In an era that has seen many independent artists rely upon advertising and television shows to get their music heard, Newsom’s music has been featured in several places. Often she has elected that her music be used in documentary work. However, The Milk-Eyed Mender‘s “Sprout and the Bean” was featured in Victoria’s Secret’s Dream Angels ad campaign. Note that her voice is not heard in this spot.
Or it could be that a dress is just a dress. Which is fine too. But while I’m excited about hearing Newsom’s new album, I’ll have two labels on my mind when it comes out: Drag City and Rodarte.
So, I finally saw last week’s episode of Gossip Girl. For my money, there is nothing surprising about Sonic Youth performing “Starpower” and bassist/guitarist Kim Gordon marrying Rufus Humphrey and Lily van der Woodsen-Bass-etc. The reason, as I will outline chronologically below, is that flirtations with mainstream popular culture is completely in keeping with their career. This cameo isn’t an isolated incident. If anything this network-savvy band pioneered how indie does synergy.
March 1, 1988: Ciccone Youth, a side project formed in 1986 between the band and Minutemen bassist/co-founder Mike Watt releases The Whitey Album. In this configuration, they took part of their name from Madonna’s surname. They also covered some of her songs, including “Into the Groovey” and “Burnin’ Up.” For good measure, they also covered Robert Palmer’s “Addicted to Love.” Were they taking the piss or celebrating 80s blockbuster pop? Maybe both? You decide.
June 26, 1990: Goo is released on DGC, marking their major label debut.
In 1991, the Goo video album is released, a clip accompanying each song on the album. Among them are “Mildred Pierce” which features Sofia Coppola dressed as Joan Crawford, who starred in the 1945 film noir of same name, “Disappearer,” which was directed by Todd Haynes, and a few clips directed by Tamra Davis, including “Dirty Boots” and “Kool Thing,” which also featured Public Enemy’s Chuck D.
September 17, 1991: Kim Gordon co-produces Pretty on the Inside, Hole’s debut album, released on Caroline, a subsidiary of Virgin.
July 21, 1992: Dirty is released. Two noteworthy music videos come along with it. Actor Jason Lee, then unknown, is featured as a tragic skateboarder in “100%. The clip was co-directed by Davis and Spike Jonze, who just made some movie about kids and monsters based on a children’s book. Chloë Sevigny, once a Sassy intern, stars in “Sugar Kane,” which also showcases Marc Jacobs’ Perry Ellis grunge collection.
August 9, 1993: “Cannonball” is released as the lead single to The Breeders way-ruling Last Splash. Kim Gordon co-directs the music video with Jonze.
September 14, 1993: Judgment Night is released, along with a successful soundtrack from Epic that pairs alternative/metal acts with rap groups. Sonic Youth and Cypress Hill collaborate on “I Love You Mary Jane.”
1994: Kim Gordon creates X-Girl with Daisy von Furth, a sister clothing line to Beastie Boys Mike D’s X-Large collection. I see DJ Tanner wear an X-Girl blue jumper on Full House and want one.
August 25, 1994: Sonic Youth contributes “Genetic” to the My So-Called Life soundtrack. Released on Atlantic, the compilation features other Juliana Hatfield, Afghan Whigs, Daniel Johnston, and (of course) Buffalo Tom, who every fan remembers played a show on Pike Street.
September 13, 1994: If I Were A Carpenter, a Carpenters tribute album, is released on A&M. An alternafest, acts like American Music Club, Shonen Knife, Babes and Toyland, and Matthew Sweet share time with SY, who cover “Superstar.” In late 2007, the song would make an appearance in the movie Juno.
October 27, 1995: CBS airs “The State’s 43rd Annual All-Star Halloween Special,” marking the MTV sketch comedy troupe’s network television debut. Sonic Youth is the musical guest. Few people watch (I am one of them), and CBS decides to pull the plug.
May 19, 1996: Fox airs “Homerpalooza,” The Simpsons‘ penultimate episode of its seventh season. In it, Homer goes on tour with Hullabalooza (re: Lollapalooza), taking canons to the gut to the bemusement of thousands of jaded slackers. Several acts made guests appearances, including Smashing Pumpkins, Cypress Hill, Peter Frampton, and Sonic Youth. The band also provides an “alternative” version to Danny Elfman’s iconic theme song, perhaps getting closer in tone to what creator Matt Groening had originally envisioned when suggesting that avant-jazz composer John Zorn write the show’s theme song. The song is later featured on Rhino’s Go Simpsonic With The Simpsons: Original Music From The Television Series compilation.
June 5, 1996: James Mangold’s debut feature, Heavy, is released in the states. Moore composes the score.
June 1998: I watch the “Kool Thing” video at a Gadzooks in the Mall of America during a trip to Young Life camp in Minnesota.
July 13, 2001: Larry Clark’s Bully is released in theaters. Moore composes the score.
July 25, 2005: Gus Van Sant’s Last Days, the director’s take on Kurt Cobain’s final days, is released in the states. Gordon appears as a record executive based on Danny Goldberg trying to turn the main character’s life around. Moore also served as a music consultant.
May 2006: Former Pavement bassist Mark Ibold joins the band. This has nothing to do with matters of synergy or cross-promotion; I just happen to think he’s kinda cute. He was also featured in a comic strip, but the name escapes me. His catchphrase is something to the effect of “I’m Mark, the bassist from Pavement” but I’m butchering it. My friend Susan told me about it, so maybe she’ll share in the comments section.
June 15, 2007: Pitchfork reports that SY will be contributing a new track to an SY retrospective distributed by Starbucks.
November 21, 2007: Todd Haynes’s I’m Not There is released. Gordon’s makes a cameo as folkie Carla Hendricks, who is based on Judy Collins. The casting furthers my suspicion that SY friend Todd Haynes must have been influenced by the band’s fandom of The Carpenters and preoccupation with Karen Carpenter’s tragic struggle with anorexia. They cover “Superstar.” He makes a biopic about Carpenter called Superstar. Coincidence?
September 8, 2008: Choosing not to renew their contract with Geffen, SY sign with indie stalwart Matador.
November 3, 2008: Moore and former Be Your Own Pet frontwoman Jemina Pearl cover The Ramones’ “Sheena Is a Punk Rocker” specifically for “There Might Be Blood,” a season two episode of Gossip Girl.
February 16, 2009: Gordon debuts a clothing collection called Mirror/Dash for Urban Outfitters.
Is this bad? Hmm, maybe. I suppose it depends on your outlook. I’d say it’s no worse than The Flaming Lips performing on Beverly Hills, 90210 (although, maybe for it to be equal, Wayne Coyne would have to play a short-order cook at the Peach Pit). Beyond paying the bills and circulating their brand, I wouldn’t be surprised if there was a fair amount of post-modern, art-school, post-Warholian why-the-hell-not? factoring into all of Sonic Youth’s above-ground forays. Or maybe they (gasp!) like many of these texts and ventures.
Perhaps the band knows that dabbling with the mainstream is tricky business. Maybe this explains why Moore (and, to a lesser extent Gordon and guitarist Lee Ranaldo, though not media-shy drummer Steve Shelley) cultivated an authoritative presence in recent music documentaries like Punk: Attitude, Kill Yr Idols, and I Need That Record! It may also have fueled a need for an outlet through which to channel more experimental projects, resulting in the band releasing more challenging work through the Sonic Youth Recordings collection, along with Shelley’s Smells Like label and Moore’s Ecstatic Peace label. In addition, Ranaldo has done a considerable amount of writing, creates installation projects with his wife Leah Singer, has an extensive solo career, and has performed improvisatory film scores as a member of Text of Light.
And, you know. The band is still really good. Even as folks mine their discography or weave them into above-ground mainstream corporate media culture enterprising, they’re still challenging themselves and making great music. Earlier this year, the band released The Eternal, their 16th album. Peaking at #18 on the Billboard charts, it also boasts a consistently great set of songs and a painting by late guitarist John Fahey for its cover. This blurring of art and commerce, for good or for bad, is in keeping with the band and their contributions to music culture.
So, before I go into my post about Anna Sui’s Gossip Girl-inspired Target collection that launched last summer, I’d like to first announce something totally superfluous but strangely encapsulating. I am down to the dregs of my Anna Sui Dolly Girl perfume. My mom bought it for me several birthdays ago and it is a delightfully flirty fragrance that I only wear when I need to feel publically sexy. If I went to your birthday party, going-away party, theme party, house-warming, wedding, or any other BIG EVENT, this is what I smelled like before I got sweaty and/or drunk. Priced at $35 and lasting over several years, it has definitely served me well.
Delightfully flirty and publically sexy seems to be Gossip Girl‘s chief M.O. The CW teen drama, created by O.C. mastermind Josh Schwartz and Stephanie Savage, is now in its third season and based on the popular tween book series of same name by Cecily von Ziegesar. It focuses on the soapy, bitchy, frothy excesses of a gaggle of teenaged haves and (to a lesser extent) have-nots and their parents in New York City. Importantly, its wardrobe is in essence a principal character, largely due to costume designer Eric Daman’s keen eye for established and emergent talent in contemporary fashion. The show has launched once-fledging talent like Blake Lively, who has appeared in pictorials for Vanity Fair and on the cover of Vogue. It has also scored previously unknown actresses like Leighton Meester into a spokeswoman deal with Reebok.
The show has proven itself bit of a taste-maker. How else to explain why this “silly” teen soap (with a considerable hip twentysomething following) got the coop of having Christian Dior’s Miss Dior Chérie advertisement air for the first time during the “Bonfire of the Vanity” episode? Oh, and let’s not overlook who directed the spot — Ms. Sofia Coppola, herself a hipster icon, fashionista, erstwhile clothing designer, sometimes design collaborator, and friend to folks like Marc Jacobs and, yes, Anna Sui.
BTW, I remember this really interesting feature Seventeen did back in 1993 with Sui, Coppola, and friends Zoe Cassavettes and Donovan Leitch, but cannot find it on the Interwebz. If curious, please contact your local library. When you find it, note the crocheted shawls, chokers, matte lipstick, and other hallmarks of early-90s fashion they’re wearing that are now making a comeback.
Bringing publications like Seventeen into the discussion make inevitable the show’s fanbase and target audience, who tend to be pre-teen and tween girls. Thus, there’s probably a fair amount of aspiration that can be marketed toward (a euphemistic term for “exploited”). And while I feel kinda icky about the proceedings, especially since Sui’s Gossip Girl-inspired togs tend to be mid-range ($30-$70), I at least can recognize that these clothes are more affordable than, say, Louis Vuitton, or even some of the garments sold at mall retailers like Express, Banana Republic, and The Limited.
The market-driven desire to dress like a gossip girl suggests a particular cultural power, perhaps one not since seen since Carrie Bradshaw became a game-charging sartorialist (and Sarah Jessica Parker became her). The Gossip Girl cast’s on- and off-screen wardrobe (and, in Taylor Momsen’s case, the merging of the two) has also provided fodder for fashion blogs like Go Fug Yourself, much in the same way that producer Josh Schwartz’s name-making franchise The O.C. Gossip Girl has even taken its fashion-plate status toward self-reflexive ends. In the season two episode, “The Serena Also Rises,” a fashion show seating chart appears on screen, with Fug Girls Jessica Morgan and Heather Cocks’s names on it.
Thus, the show, like other Schwartz-helmed programs, is known for its intertextuality. So it seems fitting that a television show — particularly one as creative as marketing and distributing itself in an increasingly digitized and convergent media climate that young women have been especially adept at traversing, would try marketing its show through clothes. It’s a move with a bit of recent history (Grey’s Anatomy for New York & Company) and a bit of current cross-promotional play (Mad Men for Banana Republic, which Jonathan Gray has critiqued).
But having Sui team up with Target to design for Gossip Girl it is interesting, and smart in terms of the show’s investment in fashion, both as an industry and as a bridging cultural practice. Like Gossip Girl, Sui’s work has been characterized by her ongoing interests in popular music. Gossip Girl‘s music supervisor Alexandra Patsavas defines the show by its of-the-moment “indie” sound, which in turn gets referenced, idolized, and critiqued at length by the show’s characters in much the same way it was on The O.C.. Likewise, Sui is often inspired by popular music — particularly 60s garage rock, 90s Britpop, riot grrrl, and mod culture — and incorporates the attitude and aesthetic into her designs.
Both the show and designer have a preoccupation with the 90s — for the show, it is an era that commercialized alternative rock and, for hip dad and former rocker Rufus Humphrey, it is an albatross. Sui might feel similarly about the era, which was her zenith period and was not repeated in the 2000s when peer designers like Marc Jacobs, Alexander McQueen, and Stella McCartney made the career move to be house designers for Louis Vuitton, Givenchy, and Chloé, respectively. Sui instead followed in the footsteps of designers like Betsey Johnson and continued to cultivate her brand from a slightly lower tier, opening boutiques around the world and continuing to create new collections, but largely outside of the elite world of haute couture. Likewise, Gossip Girl is not a big player on television with colossal ratings. It’s not on a big-four network or on a prestige cable channel like HBO.
(Note: Obviously, if one wants to read into Sui’s professional position her marginalized status as one of the few Asian American female clothing designers, there is ample room for this. Admittedly, I have not done so here, but would be very interested and encouraged by what others might have to say on the matter.)
But both designer and show have cultivated their kitschy, hip brands toward less-travelled though no-less-populist ends. Thus, it makes sense that Sui would link up with Gossip Girl (apparently, her favorite television show), and that they would link up with Target, a big box chain with affordable prices, a cooler and more ethical socioeconomic reputation than Wal-Mart, and a relationship with designers like Isaac Mizrahi, as well as M.I.A.’s former roommate Luella Bartley and Michelle Obama’s go-to guy Thakoon Panichgul who, like Sui, have created limited edition collections for the retailer.
Now, having already discussed the problematic nature of fixing a price range and marketing a clothing line toward an intended audience in such a blatant way, I’d like to close by casting a critical eye toward the clothes themselves.
One issue I have with the collection is how focused it is on dresses and skirts. While supposedly each outfit is designed with a particular gossip girl style in mind (specifically Serena’s boho chic, Blair’s classic glamour, Jenny’s runway punk, and clearly cast-aside Vanessa’s vaguely ethnic intellectual look), all of these items can easily be paired together because of their overt, unproblematized femininity.
Another issue, and one that Target faces with all limited collections, is whether big-name designers cater toward in-between or fat body types. The clothes’ sizes range from extra-small to extra-large, leaving out women and girls who are bigger. What is more, while these clothes appear to be well-made, many of the designs in Sui’s collection seems to principally flatter a long, lean body type. As a short, curvy girl who wears a size four (which, if we recall The Devil Wears Prada, is the new size six), I would have to belt pretty much all of these dresses so they wouldn’t look like gunnysacks on me (that is, the ones that aren’t so short that they would fail to flatter my thickly proportioned thighs). And don’t even get me started on how stumpy I’d look in a pair of checkered, bowed pedal pushers. NEXT!
So, while interesting in many other ways, I feel like Sui’s collection suggests that only certain shapes and classes get to be gossip girls when it comes to fashion. I don’t think we needed Target to tell us that, but I hope it inspires other women and girls to either make the styles their own or, better yet, start picking up the needle and thread and putting their own outfits together.
Wanted to post this real quick, because it’s silly, I’m a little work-fried, and the emphasis on the “soundtrack” is a big part of the joke.
With a little more plot, I’d totally see this movie. I like a good lady road-trip movie (see also: Romy and Michelle’s High School Reunion, a movie I should probably write about in terms of soundtracks, 80s pop iconography, and funny ladies).
Some other things I love about this fake trailer:
1. Are Alicia and Alanis real-life friends? Do they eat vegan meals together somewhere posh in LA? They seem like they like each other. I’d record my friend flipping me off on a digicam.
2. I don’t really have much use for Alanis as a singer or funny lady (I don’t like “My Humps“). But she’s really great here. And, apparently, she can sum up her life with a shot glass.
2. The use of The Sea and Cake’s “Weekend” when Alicia’s mother dies, complete with the photo falling off the table. Normally, I associate this hazy pop tune with a Sofia Coppola movie I made up in my head. It involves a quiet French couple, slouchy yet tight and impossibly fashionable black ensembles by Marc Jacobs, and grey skies. This is funnier.
3. The way Vampire Weekend’s “A-Punk” slows down when Alicia goes from happy to hysterically sad.
4. Some of these bands aren’t real. I’ll let you go through the names and pick them out. Unfortunately, Mates of State are very real (cheap shot!).
5. That said, the fake band names and the real band names are often similar enough that it’s not easy to tell them apart if you don’t already know who’s who. The pseudo-Juno font and the implied presence of Fox Searchlight helps sell it.
6. The soundtrack’s presence gets so excessive that songs start playing on top of each other. Of course they do. Just like life.
So, Beth Ditto is a style icon. No two ways about it. If you know this, then you probably also know that Beth Ditto just launched a clothing line for Evans in the UK. You may have already read SparkleBliss’s rad, insightful post about it on her blog (which, if you haven’t, you should — go here). And, if you follow SparkleBliss on Twitter, you may already know that she just bought herself a cute outfit from the collection.
Now, women in music dabbling in fashion is nothing new. Indeed, women in popular culture writ large dabbling in fashion is almost de rigueur — another way to circulate your brand, add more hyphenates after your name, and give your fan base more tactile, tangible access to “you”. Everyone seems to be have at least attempted at designing a clothing line (Gwen Stefani, Victoria Beckham, Jessica Simpson, Jennifer Lopez, Eve, Kate Moss, Rachel Bilson, Sarah Jessica Parker, Mary-Kate and Ashley Olsen, Chloë Sevigny, an assortment of women on The Hills . . .) or work as a spokesmodel (M.I.A. for Marc Jacobs most immediately comes to mind).
But you’ll notice that a lot of the women I mentioned are presumably straight and all of them slender. Thus, the majority of female celebrity clothing lines align with normative identities of what women and girls should be. This indeed makes Ditto’s entrance into the world of fashion and retail (which she intimated in Bust as “dancing with the devil”) “a queer, fat cultural moment” as Charlotte Cooper at Obesity Timebomb purports it to be (and that SparkleBliss reprinted and linked in her post — seriously, go read it). It’s too bad that Margaret Cho’s High Class Cho line didn’t take off (complete with non-numerical sizes named for bombshells like Jayne Mansfield and Marilyn Monroe) — if so, we could add “woman of color” to the list of signifiers.
Also, looking at Ditto’s body and orientation is important when contextualizing her within pop music’s landscape. Slender pop stars like Katy Perry and Lady Gaga are also interested in fashion and with putting together their own clothing lines, but while Perry and Gaga flirt with queerness, Ditto is out. And while Perry’s look most clearly aligns with vintage, pin-up Hollywood glamor (albeit to a heightened, campy degree) and Gaga’s look is definitely severe couture (perhaps even a bit fascistic in ways reminiscent of Siouxsie Sioux, but let’s give this issue its own entry), Ditto’s collection is at once hip, wearable, distinctively Ditto, and specifically for plus-sized women and girls, perhaps more closely aligning Ditto with her fan base than Perry or Gaga could.
But we’d be doing a disservice to sing the praises of Ditto’s collection without (as SparkleBliss and Obesity Timebomb point out) a) acknowledging the inherent adherence to capitalism and b) being conscious of the (often cheap, exploitative) modes of production and labor responsible for putting this collection out into the market along with potential class issues and limitations among various consumer groups. Even the ways in which the unnatural, weird, non-human look of the mannequins wearing her clothes suggest we have a ways to go as a culture before a large female body becomes a natural body.
Alongside this, we can’t extol the virtues of Ditto’s collection without acknowledging that Ditto launched her line in the UK, where she is actually popular, instead of in the United States, where she’s slightly less than obscure.
I still feel like there’s something really important in having a space in the market for full-figured women and girls to have a cool clothing made explicitly for them, just like I thought it was rad for there to be Tracy Turnblad dolls to coincide with the release of the remake of Hairspray. Of course, I can’t exalt these instances without acknowledging the ickiness of capital, using niche groups supposedly under the guise of serving them while in actuality creating greater gains for the corporations and retail chains that create and disseminate the brand, and clogging our homes with stuff . . .
Yet, I do think these cultural moments are not to be overlooked, even if these moments are dependent on consumerism. It’s important for women and girls to have access to clothes that include them in the world of fashion that look good and make them feel good. Likewise, it is important that queer women and girls (perhaps more pointedly femme women and girls) have a spokeswoman creating an inclusive space for them in popular culture. Because there’s a lot of joy to be had in finding an item that was made for you.