If you’re a follower of this blog and haven’t gotten a hold of the new issue of Bitch, I heartily recommend it. I also recommend that you get a subscription, something I intend to renew after the holiday season. As luck would have it, the current issue came in the mail just as I was heading to Fort Worth for Thanksgiving, and its theme is all about artists. In it, you will find articles about mediated representations of female artists in television and film, the troubled history of contemporary feminist art, and an indictment of the patriarchal implications of Donald Judd’s artistic take-over of Marfa.
While I’d like some more coverage of iconoclastic artists like Kara Walker and an extension of the term “artist” to include women like contemporary dancer Louise Lecavalier, I recognize that the good people at Bitch only have so much negative space to fill and loved the issue all the same. It was just the thing to read while running on the elliptical machine in the guest room when in need of some solitary quality time. I am an only child, after all.
One person I’m really glad Bitch focused on is Yoko Ono. By having 20 female artists contribute their words and feelings about this great woman, Ellen Papazian helps shatter the myth of rock’s dragon lady widow and considers her influence as an artist, musician, Japanese immigrant, feminist, mother, wife, and woman. Importantly, these women also challenge the notion that Ono’s cultural position as feminist conceptual artist was trite and instead suggest ways in which it was revolutionary and brave. Let’s think about this when we look at works like “Cut Piece,” wherein Ono invites audience members to cut off pieces of her clothes and hair — sometimes to dangerous effect at the hands of misogynistic participants — or “Y E S,” which is comprised of a ladder, a magnifying glass, and three affirmative letters scrawled on a board overhead.
Another lady I’d like to shine a light on, especially since she wasn’t featured in Bitch‘s Art/See issue is composer and fellow Houstonian Pauline Oliveros.
I’m in the process of putting together a couple of entries for an encyclopedia for American women in popular culture. I’ve sent off two, but am stalling on an overview of female composers because, frankly, beyond Ms. Oliveros, Libby Larsen, and film scorers like Wendy Carlos and Shirley Walker, I actually don’t know too many myself and was hoping to use this assignment as an opportunity to broaden my own understanding. A Pandora guide I inherited from my friend Emily will hopefully expand my own knowledge base, but feel free to throw out American female composers I should discuss. In the mean time, I thought I’d share a piece by Oliveros, an accordian player and pianist who emphasizes the importance of breathing in music-making, cultivates the idea of deep listening in contemporary classical music, and incorporates it into her music for feminist reasons.
Let’s toast these female artists and others who’ve carved spaces for themselves and, as a result, tried to bridge the chasm between subject and spectator, hoping to forge that most feminist of ideals: communal space. Here here! I sip my Lone Star in their honor.
Sometimes a movie just finds you right when you wanna see it. I felt this way the other night watching Alex Sichel’s only movie, 1997’s All Over Me. Five minutes into this poignant story (written by Alex’s sister Sylvia) about a young girl coming out, crushing on her friend, learning about homophobia, finding love, and thrashing on her guitar, I was hooked.
It didn’t hurt that the movie makes good use of Babes in Toyland and Sleater-Kinney.
I originally put this one in my Netflix queue because Leisha Hailey is in it. She has hot pink hair and plays in a band led by Helium’s Mary Timony called Coochie Pop. Perhaps unsurprisingly, I love her. I met her once when a friend was building her house in Marfa and she was as nice as I was paralyzed with awe. I think I was about 11 when I heard “You Suck,” a song she recorded as one-half of The Murmurs. I also really like their cover to the theme for H.R. Pufnstuf from the ultra-90s alterna compilation Saturday Morning: Cartoons’ Greatest Hits. They were two girls with Manic Panic hair, acoustic guitars, and helium voices that swore a lot, often in harmony.
And, then there’s all the other stuff she’s done. The Yoplait ads that a lot of people have slammed but that she and I argue are super-queer (especially this one). Her electro project Uh Huh Her (taken from the PJ Harvey album of same name). She was also consistently my favorite part of The L Word, playing sarcastic, loyal, proudly bisexual wordsmith and deejay Alice Pieszecki.
Anyway, Hailey’s the love interest in this one. And does she ever meet cute with the movie’s protagonist. They exchange flirtatious glances in a guitar store. Hearts.
The story itself focuses on Claude (not Claudette, even though that’s her given name), a fifteen-year-old, working class baby dyke who loves knee-length shorts, her guitar, and her best friend Ellen (played by be-credded Imitation of Christ impresario Tara Subkoff) who is in serious denial about her friend’s true feelings (and possibly her own).
All around Claude, people are correcting her, trying to convince her that she likes boys, telling her to dress more feminine, putting lipstick on her. It’s particularly hurtful that the worst enforcers of heteronormativity in her life are also the two closest female presences — Ellen and her single mother, Anne (played by Ann Dowd, who plays Cookie Kelly, a similarly unsympathetic mother, in Freaks and Geeks).
It doesn’t help matters that Claude is totally in love with her best friend, who has ambivalent feelings about their relationship. Ellen seems to be aware of Claude’s attraction, and in two instances (momentary) reciprocates physically, but quickly dismisses these moments, running away from them so as to get closer to Mark, her dangerous, homophobic, possessive, violent boyfriend who may have killed a young gay man in the neighborhood. He’s played to type by Cole Hauser, who may be a lovely individual, but has a low monotone and looks like a red-headed potato and thus seems pitch-perfect to play angry young chauvinists.
When Ellen isn’t running to Mark, she’s abusing drugs and drinking. Add to that her (anorexic?) skinniness and blondeness and you have a girl trying very hard to be rebellious and subversive but who actually plays right into staid notions of straight, white, patriarchal society. And while she always reaches out to Claude in need — notedly through music, as both girls play the guitar — she is just as quick to push her away.
Meanwhile, Claude can’t really abide by straightness or patriarchy. There’s no room for her without completely destroying her spirit. Actress Alison Folland (who I thought was heart-breaking in To Die For) makes Claude both nervous and sedate, on edge but starting to make peace and embrace her lesbianism, recognizing that a life in the closet is far graver than the initial scariness of coming out.
As a result of recognizing her burgeoning sexuality, Claude starts breaking from Ellen, making a few queer friends in the process. A pleasant surprise in the movie is the presence of Wilson Cruz. He plays Jesse, who works with Claude at the neighborhood pizza parlor. As many know, he played Ricky Vasquez on My So-Called Life, one of the first and more fully realized gay teens on television. In some ways, he’s not playing too dissimilar a character here — the gay friend — but, like Ricky, is also a quiet, pensive, damaged but resilient young man. And one key way that he is not just playing the gay friend is that he is the gay friend to a young lesbian, thus promoting the idea that members of the LGBT community can be friends and allies across orientations.
Claude also gets involved with Lucy, a local musician played by Leisha Hailey. While Lucy’s age is never explicitly stated, it is revealed that she lives at home with her dad, who is often away, implying that she’s about Claude age. Claude meets Lucy at her band’s concert, blown away by her talent. Yet, she’s able to play the chivalrous dyke and buy Lucy a drink. She then goes home with her to hang out and listen to records, while Ellen camps out with Mark in Claude’s bedroom. Claude puts on one album (presumably Patti Smith’s Radio Ethiopia), and has the following emotional scene.
While I have ideological problems with Patti Smith’s gender configurations and how essentializing and normativitizing (male) rock historians can be of her work (particularly Horses), I was completely moved by this scene. By my count, there’s two things going on here: Claude is in anguish over Ellen and she is starting to confront her fear and anxiety of being gay (“Should I pursue a path so twisted? Should I crawl defeated and gifted? Should I go the length of a river?”).
Importantly, Claude isn’t galvanized after this scene or by this song (indeed, perhaps some would argue, in this movie, as she never has a big coming-out moment; the closest moments are at the end — one is implied, the other wordless). Through the rest of the movie, she struggles and evolves while learning to own and articulate her feelings for Lucy and confront the impossibly for her and Ellen to be together. Yet, Claude is becoming aware and is learning to develop and assert herself, potentially holding a guitar in one hand and Lucy’s hand in the other. No small feat for a fifteen-year-old lesbian teenager.