So, I’m still a little brain-drained from working on Cinemakids this weekend. I helped a group of nine-year-olds make a short movie about skatin’ dudes and pie fights (or, more accurately, walked them through the basics of making their own movie, tried to keep them positive and focused, sometimes mediated arguments, and sometimes provided them with Oreos). It was fun and if you want to see the movie “Team I Want Some Pie” made, along with the other participants, the screening is on November 7th.
And sometimes being a little brain-drained is good. It’s inspiring. And because today is Monday and we might all be a little slow getting back into our weekly routine, I thought I’d make a quick list of rad stuff I’m stoked about or inspired by. Feel free to share your rad lists as well.
Sadie Benning. Thanks to grad school and Kill Rock Stars, I know who this is. Benning is my go-to “girl filmmaker,” however essentializing that term may be. But I kept thinking about her work all weekend and how, if you have a vision and a Fisher-Price camera, you can start making movies at any age (an experimental filmmaker parent may also help, but not necessarily guarantee inspiration). If you don’t know her work, I highly recommend looking at some of her shorts. You can also watch her work in Julie Ruin’s “Aerobicide” music video.
On that tip, Molly Schiot has made some great videos too. Might I point you in the direction of Mika Miko’s “Business Cats” and Sleater-Kinney’s “Entertain”? Also watch the interview footage Schiot put together of Pat Place and Cynthia Sley of Bush Tetras talking about being tuff feminists on the lower East Side in the early 80s. This interview plus a recent screening of Downtown ’81 convinces me that I’m not tough enough to have lived in New York and the early 80s, and neither are most people of my generation. These women lived “Too Many Creeps.”
Oh hai Jane Campion. I’m looking forward to seeing Bright Star. Additional points of interest for apparently configuring Fanny Brawne as a proto-punk fashion icon.
Karen O, music supervisor of Where The Wild Things Are. How is Spike Jonze’s new movie not going to be awesome? Regardless, I know the Yeah Yeah Yeahs frontwoman’s musical contributions to the movie will necessitate its own post. Can’t wait for it to come out!
The Gossip are coming to ATX next month, two days after Parton’s box set is released. Yet another reason why October is for winners. We can only hope that Beth will pull out the wig and cover some Dolly.
I missed Mad Men last night because I was cheering on the KOOP Kilowatts. I suspect others may have missed last night’s episode too due to the Emmys (or at least had to back-and-forth it). Regardless, apparently Betty and Don’s angsty eldest daughter Sally discards a Barbie doll her mom gives her in last night’s episode. Ugh, you totally don’t get my ten-year-old girl needs, mom. Season three has been Sally’s season, in my mind.
Oh, on that tack, I need to rewatch season two and see the documentary on women’s liberation that was included in the DVD set. For more on the subject, Mary Kearney just wrote a great Flow column on it. I wonder how Sally will be impacted by these changes.
I recently bought Kate Bush’s Hounds of Love at Cheapo. Yes, that does mean that I listened to “The Big Sky” on my drive to work.
I have been pairing this with Julie Ruin’s “Valley Girl Intelligensia,” bringing us back full circle to grrrl germs.
NPR posted Marianne Faithfull’s session for her new covers record today. In celebration of rock’s grand dame, I thought I’d post some live clips of covers from artists I enjoy. Let it be assumed that some delightful gender fuckery goes on below, whether it be the singer, the performance, or how those pesky gendered pronouns get played with. Enjoy!
First up, two hymn-like adaptations of “Crazy in Love” and “I’m On Fire,” by Antony Hegarty and Bat for Lashes.
And then some campy renditions of “Rocket Man” and “I Will Always Love You” from Kate Bush and The Gossip. Thank you, SparkleBliss, for hipping me to Beth Ditto in Dolly drag. My life is changed for the better.
Thanks to my friend Evan, who alerted me on Monday that some serious Aughties musical canonization was going down this week, I’ve been following Pitchfork’s unveiling of the Top 500 tracks of the decade. As it may be of interest, I thought I’d share my feelings.
In subsequent posts, I may comment on their impending coverage of the decade’s best music videos and albums, as well as their formulations on the reclamation of pop, the exploration of noise, and the mainstreaming of indie rock. I won’t devote posts to it, though, because there’s a fine line between providing useful commentary and hearing yourself type. And my hunch is that discussing the singles list will suffice, as it presents, by microcosm, a general set of criticisms I’ve long held about the “tastemaker” e-zine.
Covering Pitchfork’s appraisal of the decade in this way makes more sense to me anyway, as the 2000s marked the resurgence of the single. Our increasingly digitized media culture cultivated the need for that one song, found at the click of a mouse or the touch of an mp3 player button or phone pad. That song also tended to get posted on blogs, e-zines, and MySpace pages (however briefly) as a means to define the self or selves (this was a decade when Gnarls Barkley, Brightblack Morning Light, and Crystal Castles could potentially coexist on the same shuffle or mash-up).
So, this list is the first time I’ve seen music of my youth canonized in such a way that it now seems historical. When Pitchfork first did the list half-way through the decade, I was 22 and just out of college; an adult, but only sorta. More specifically, the songs were still new. But having graduated from college twice over and a year into my second post-college job in 2009, I can look at songs from 2000, when I was in high school, and feel my age like many folks who transitioned into adulthood in decades prior.
And now, some nostalgia. A lot of the songs on this list bring up specific memories, images, people, and feelings. I remember my friend Brooke trying to teach me a dance routine to Aaliyah’s “Try Again” for our junior prom. PJ Harvey’s “Good Fortune” reminded me of a high school boyfriend which, in hindsight, speaks to an epic love song’s power to project. I remember a classmate singing the chorus to OutKast’s “Ms. Jackson” to herself in French class. I remember hearing Jay-Z and UGK’s “Big Pimpin'” at a Claire’s somewhere in New York City on a field trip. Radiohead’s “The National Anthem” confused the hell out of me, but I kept playing it at full volume anyway. Missy Elliott’s “Get Ur Freak On” was a confusing song that made perfect sense. And if Daft Punk’s “One More Time” was released when the class of 2001 voted for our song, it would’ve been my pick (I submitted U2’s “Beautiful Day” and Counting Crows’ “Hanging Around”; our song ended up being Aerosmith’s cover of The Beatles’ “Come Together” from the Armageddon soundtrack, for some reason).
Then there’s the rough transition between high school and college. Songs off Radiohead’s Amnesiac and Daft Punk’s Discovery suggest my lonely, uncertain summer before college. I started college, withdrew mid-way through my first semester, and resumed in the spring. This was a “the” time — The Strokes, The White Stripes, The Shins, The Avalanches, and the last album by The Dismemberment Plan. It was also when I started to follow Pitchfork, mostly to avoid writing term papers.
After a summer back home, I applied for a college radio show. It was here that I really started learning about music, and just how much music there was. KVRX maintains a “none of the hits all of the time” policy; if a musical act got a single or video on rotation in a commercial market, they could not be played. While I was there, we pulled The Arcade Fire and Franz Ferdinand from rotation. Some deejays would think that by pulling a musical act they liked out of rotation, we were initiating a taste-based attack on coolness (i.e., undiscovered = good, discovered = bad). While this prejudice existed (and I would certainly perpetuate it at times), pulling an artist embraced by the mainstream out of college radio rotation felt more political to me. “Spoon is on 101X? Great! They’re awesome. Now let’s shine a light on the thousands of other bands who’ll never get that kind of attention.”
Pitchfork made an effort to shine a light too, biases notwithstanding. During my tenure at KVRX, my relationship with Pitchfork became contentious. While I followed Pitchfork, I was also dismissive or derisive of the staff’s opinions (a classic push-pull for many music geeks: we are at once too cool for Pitchfork, yet check to see if we line up with their rulings). As I came into my own as a feminist, I also became more critical of what they covered, how they covered it, and what they dismissed, out of which came, among other things, this blog.
Yet, there are so many songs on this countdown that remind me of that time. I remember my first radio show, when I played Interpol’s “NYC” because I had some vague idea of who they were. I remember exactly where I was when I first heard TV on the Radio’s “Staring At the Sun” and Dizzie Rascal’s “I Luv U.” I remember seeing Spoon perform “The Way We Get By” on Conan and hoping they’d get big. I remember hearing the bass line to Broken Social Scene’s “Stars and Sons” for the first time. I remember fighting The Rapture’s “House of Jealous Lovers” for weeks before surrendering. I remember being unable to avoid The Postal Service’s “Such Great Heights.” I remember playing Broadcast’s “Pendulum” while getting ready for parties. I remember rocking out to The Gossip’s “Standing in the Way of Control” in the deejay booth. I remember LCD Soundsystem’s “Losing My Edge” being one of the go-to songs deejays would throw on for a smoke break when we weren’t quoting from it (I alluded to it in this post’s title). I remember hearing M.I.A.’s “Galang” at a party and having it blow my mind. I remember impromptu dance parties after Alliance for a Feminist Option meetings when a bunch of sweaty grrrls I still call friends would shimmy to Beyoncé’s “Crazy in Love” and OutKast’s “Hey Ya!” I remember skanking harder and smiling wider than I ever have with the person I built my life with to Ted Leo and the Pharmacists’ “Where Have All the Rude Boys Gone?”
In addition, there was Boards of Canada, Wolf Eyes, Feist, Black Dice, Andrew Bird, Ladytron, Devendra Banhart, Destroyer, Hot Chip, The New Pornographers, Deerhoof, M. Ward, Liars, Junior Boys, The Walkmen, Manitoba (later Caribou), El-P, The Go Team, (Smog), Sufjan Stevens, RJD2, The Books, Talib Kweli, Phoenix . . . . The list goes on. If I ever had trouble keeping up with new artists after graduating in 2005, it was only because I had so many established artists to follow.
Of course, my college radio utopia didn’t last. It couldn’t. My monolithic friend group fragmented. People moved, lost touch, became casual, or just stopped being friends. Perhaps this is really when the decade became more to me than a sequence, instead an evolution of time. Late-in-the-decade offerings like LCD Soundsystem’s “All My Friends” and Animal Collective’s “Fireworks” convey this for me.
After college, I acquired Deerhunter, CSS, Hercules and Love Affair, Santigold, Bat for Lashes, Grizzly Bear, Battles, No Age, Be Your Own Pet, Girl Talk, Magik Markers, Vampire Weekend, Vivian Girls, Women, King Khan and the Shrines, and St. Vincent.
Assuredly there will be more new artists for me (and you) to adopt. Just this week, because of the countdown, I picked up on The Knife.
There are artists whose countdown placement evinces moments when we were willing to bet the farm on an act that now seem dated (Death From Above 1979, The Streets, and Klaxons). There are also acts I didn’t “get” but sorta came around on later (hello, Joanna Newsom). There are acts I didn’t know that well in college but came to treasure later (bless you, Neko Case). There are acts I enjoy but could never fully champion (I like you fine, Belle and Sebastian). There are acts I appreciate, but kinda overwhelm me and can’t listen to all the time (Jesus, Xiu Xiu). And then there are acts for whom I just never got the fuss (Fleet Foxes and The Decemberists).
With that said, this countdown plays predictably. Accepting minor issues like what song was selected to represent an artist and where songs fell in ranking, Pitchfork got a lot right. They also got caught up with some songs that I think they’re overselling, and some things they marginalized or completely overlooked. I’ll preoccupy the rest of this post with those flaws.
For me Pitchfork’s big Achilles heel has always been hip hop, primarily because they really only cover mainstream hip hop (Lil Wayne, T.I., 50 Cent, Clipse, Eminem, Cam’ron, OutKast, Kanye West, and Jay-Z — the last three are all over this countdown). And while this isn’t a problem in its own right, it limits how hip hop is defined and what it represents, which, in a lot of commercial hip hop, that still means money, Cristal, whips, blunts, and bitches (though not in all cases). It certainly suggests that the only way for rappers to be successful and culturally relevant is to be part of a corporate mechanism. This seems like something a publication that prides itself on giving visibility to independent artists should re-evaluate. Because, in my mind, if there’s no Busdriver or Jean Grae, I question the validity of the list.
As a result, it largely eclipses underground hip hop which has seen tremendous advancements over the course of the decade, particularly in the states. Talent from labels like Stones Throw, Quannum Projects, Rhymesayers, Definitive Jux, and anticon., along with talent at labels like Plug Research, Mush, Warp, and Ubiquity have created some of the most vital and interesting work in the genre, expanding its sound and its content while working outside a corporate mechanism in the process (anticon. runs as a collective). But you’d never know that if you only read Pitchfork, who acknowledged a few efforts, primarily from white male label owners (El-P) and instrumental artists (RJD2, DJ Shadow). No female MCs were acknowledged. This may also speak to the dearth of female MCs in underground hip hop, but doesn’t excuse it (I love you, Jean Grae; I love you, Psalm One). My challenge to hip hop fans in the next decade is to try to create online resources as influential as Pitchfork to get the message out. You’ve got guaranteed spots on my blogroll.
Also, as you may have noticed if you combed through the entire list, only the top 200 songs are accompanied by blurbs from the writing staff. While I understand that writing 300 more blurbs presents its own challenges, I also think it suggests that tracks 500-301 weren’t good enough for a write-up. And this makes me especially sad when many of the women I loved in this decade — Vivian Girls, St. Vincent, Goldfrapp, Sleater-Kinney, Bat for Lashes, Björk, and The Gossip — are thrown at the end and not given any qualifying statements. This especially seems necessary for a song like The Gossip’s “Standing In the Way of Control,” which became an LGBTQI anthem this decade. That would be especially useful to read alongside #18, Hercules and Love Affair’s “Blind.” This is a great dance song that I’ve always interpreted as an anthem for coming out and living life queer. But you wouldn’t know that from Tim Finney’s write-up.
And while I’m heartened by the women who did make it to the top 200, especially women like M.I.A., Beyoncé, Missy Elliott, Annie, and Karen O of The Yeah Yeah Yeahs, who made the top 20, I can’t help but notice that many of these women are pop artists who work extensively with predominantly male producers. I don’t want to suggest that cutting a track with Timbaland or Diplo or Pharell from The Neptunes means that women are robbed of artistic autonomy, as I wouldn’t say that for Justin Timberlake. However, I do take issue with what female artists and what songs get praise. Or even what versions of songs. While the Diplo remix of the version of M.I.A.’s “Paper Planes” that features UGK is great, I wonder why her version isn’t enough.
That said, the 2000s were both a hell of an education and a hell of a time. Pitchfork knows it. I know it. Hopefully, you know it too. It was a great time to be alive. I hope the next decade is even better.
Think of this post as an extension of this one. Only it’s different, because this is a new group of girls with upbringings, influences, opinions, and dispositions.
1. Let girls talk, even if they might potentially be disruptive. They might just want you to pay attention to them. Rather than tell them to be quiet and fret that they aren’t listening, try and engage them and talk to them. This might make them listen, especially to their own words and those of their peers. You, the instructor, may learn something as well by asking a girl to share with the group what she’s telling a friend in the corner and having that girl drop some science on the class.
2. Make sure to intervene when a girl says “you’ve never heard of _______?” to another girl. Try and spin it like, “well, not everyone can hear everybody.” Be honest about the things you didn’t know and learned from your friend Kristen when you put this workshop together. Condoning that behavior may make loud girls quiet and quiet girls unable to participate. Correcting that behavior gently may help them all to listen and share.
3. Don’t forget how important Selena continues to be for many girls.
4. Don’t take credit for putting Selena in the PowerPoint (good contribution, Kristen).
5. Allow yourself to get really amped when girls yell out names at images of bands and musicians they recognize and love.
6. Let yourself dance with the younger girls when they do the wave during the Gossip/Sharon Jones mini-dance party at the end of the workshop.
7. Remember how exciting it is when a girl tells you she learned about a musician from her mom.
8. Be kind and respectful when some girls let you see their band perform during rehearsal (thanks, ladies from Chucky’s Unknown Children).
9. Some girls might read your blog. Be humble and grateful when they tell you this and remember them as you try and make this space more inclusive.
10. Not all girls like the same things from session to session. Overall, these girls had little use for Björk or riot grrrl. However, they did seem to like The Runaways, Erykah Badu, and Sharon Jones and the Dap-Kings.
11. Always highlight female musicians who play unconventional instruments. Don’t make a distinction between cool and uncool instruments. After all, X-Ray Spex’s Lora Logic played the saxophone.
12. Remember all the bands and artists you didn’t include that the girls mentioned in case you get to give this workshop next time.
13. Always make extra copies of the mix CD in case girls want to give a copy to a sibling/cousin/friend.
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.
One reason it’s really exciting to teach history is to let people know that it’s evolving and ongoing. One reason I was excited to teach music history to the campers at GRCA today is because it’s important to let girls know that, as musicians, (or fans or critics or label executives or deejays or producers or . . .) they are a continuation, a contribution to a female presence in popular music and, more broadly, public life.
And it’s nice to teach the class with a close girlfriend, so that you can show girls that it’s possible for women to work with one another and collaborate. That’s good too. Especially since the closest I’ve come to teaching pre-/pubescent girls was conducting sight-reading clinics for my mom’s junior high choirs. I was definitely out of my comfort zone teaching two music history classes (one ages 9-11, another 11-13).
But, as with education more broadly, it’s not really about the teachers. It’s about the students and it’s about creating a space to dialogue and learn from one another. So here now are the things I learned at GRCA today.
1. Don’t instinctively apologize. Women and girls say they’re sorry all the time, usually for things that are not their fault. Instead, say “you rock” or “I rock.”
2. Don’t compliment a student on their hair/dress/gear. It could be a class marker and not every girl is born of privilege. Not every girl can afford a mint-condition vintage Clash t-shirt and not every girl can afford a new Gibson guitar. Plus, we shouldn’t use things as markers of our societal worth anyway.
3. Ask what they think, what they know, what they like. Don’t lecture to them. Don’t make it feel like school. But some girls like lectures, as long as they can participate, so they can handle some science being dropped.
4. The older girls love Siouxsie Sioux.
5. Some of the younger girls like country. Some don’t. All opinions are valid. Let’s try and bring both sides together.
6. Some of the older girls didn’t know who Cibo Matto were, but wanted to know more.
7. Many of these girls remember and have a fan relationship with Selena.
8. Many girls want the Reactable shown in Björk’s performance “Declare Independence” on Jools Holland. It shows them that you can use any instrument to make the sound you want.
9. Some of the girls didn’t know who Marnie Stern was, but were excited to hear her name associated with “shredding.”
10. The older girls totes know about riot grrrl.
11. Everyone loves Beth Ditto and M.I.A.
12. Despite the ubiquity of mp3 players, everyone loves a mix CD. A pleasant surprise.
13. Girls wanna talk. It helps them learn. Thank you young ladies for letting me listen.
In Lisa A. Lewis’s article, “Being Discovered: The Emergence of Female Address on MTV” she states that female-address music videos (music videos where females are subjects instead of objects) hinge on the interaction of access signs with discovery signs. Access signs visually appropriate representations of girls and women engaging in experiences or environments traditionally associated with boys and men (street culture, for example).
Discovery signs, on the other hand, construct images of girls and women engaging in activities traditionally gendered as feminine without boys and men, often in an attempt to reclaim or subvert these spaces and practices. Today, I offer the bedroom and its associative images to be classified as discovery signs, via the following music videos.
Standing in the Way of Control
Directed by Morgen Dye
Viva! La Woman
Directed by Michel Gondry