MAN-CHILDREN, YR DRUGS AREN'T WEIRD & WHAT'S PUSSY DOING FOR YOU?

"WE DON'T GO TO THEIR PARTIES, WE DON'T TALK LIKE THEY TALK. WE DON'T GO TO THEIR PARTIES, YEAH, BECAUSE WE HATE THEM." 
                                           - Ian Svenonius, Nation of Ulysses "Maniac Dragstrip"

When I was a kid I didn't go to parties. I hated parties. I still kind of hate parties. I can't be around drunk people unless I'm drunk, because... well, drunk people are annoying. I'm annoying when I'm drunk. I'm crazy when I'm drunk. However, it just happens to be the landscape of the scene I live in, esp. prominent for those involved in music. The shadowy nights of shows leaves us fucked up (and trying to fuck something) by the end of the night ... super easy to do w/o adult day jobs. This behavior doesn't mean we're all base-level fuckheads just because we go out and stay out late tapping into our carnal lust and our need to get fucked up. Some of us harbor weird hopes that some magical connection will be made thru casual sex. And if that doesn't pan out, perhaps cocaine can fake out our loneliness (the worst popular casual hard drug - WAY TO STOMP ON A SOUTH AMERICAN PERSON'S FACE & BECOME A PARANOID ASSHOLE W/ FUCKED SEROTONIN LEVELS). Usually though, it just makes us feel worse.


Youth counterculture rejects the American authoritarian "proper" lifestyle, you know, the one based in Christian values. To creative types, when you put on a suit and tie, you die. So do the opposite instead, never mind that A. drinking is a major part of the working class lifestyle as well and B. those "normal" fuckers go to strip clubs and do similar parallels of shit because they're too stressed out from their jobs. Sometimes these macho assholes get drunk and beat their wives and we think it's way different than a poly-amorous "feminist" boy who physically intimidates, threatens and lies. We excuse fucked up behavior if someone's tragedy is entertainment in a hipster outfit. This is the post-emo "ME ME ME" existential infiltration all around us. "Hipster irony" is another excuse for dude bro-isms under a pseudo intellectual fashionable facade. And the drugs just add to buffer out responsibility for humanity's ingrained shitty behavior.


As a teenager, I already didn't buy into the idea that "getting wasted" wasn't just another normal all American thing. Sure, in middle school I thought I was like so weird for smoking weed (with the hundreds of other kids who also smoked weed in the suburbs), then it occurred to me that my father was smoking weed too (and doing shrooms and acid and coke) with hundreds of other suburban kids in the '70s and beyond. Drug use is no rarity and it has made no person any more original or interesting than the next. It is rather a somewhat "coming of age" rite of passage for 1st World youth.

 

Even with all my free time as a teenager, I didn't wanna make small talk with a bunch of emo boys cracking sexist jokes or have darts be thrown at me by the eyes of some anorexic baby bangs mall goth in black framed glasses who felt entitlement to hold the loyalty and attention of a rather non-impressive bipolar bass player. Fuck going to shows to hang out with those base level humans. I hated alcohol, too, and the idea that people couldn't have a good time without it. The crutch of recreational drugs seemed against the idea of "kid power", though in so many ways we get fucked up as adults to hold on to being a kid. The first nine years I attended punk shows, I didn't touch booze. I popped pills at home, sure, listening to Tubeway Army and making zines about robots (my AOL chat name was "missanniethropic"). I hated the counterculture cool kids just as much as I hated misogynistic jocks and Christians, even though I was supposed to relate to the hardcore boys and raver girls in my high school hallways. Then... eventually I fell into the relief of bar culture, drugs and casual sex - disheartening because I have forgotten what it was to be the solid bad ass girl that I used to be (or really I have forgotten what it's like to stay home alone a lot more).

 

I can not blame heterosexual gender politics for upholding sex/drugs in society solely when both have been humanity's vice since the beginning. Cavemen took drugs. Cavemen raped cavewomen, too. I do know that hetero hipster boys have taken the cake in reigning my disdain for this kind of lifestyle. I'm grown now, having given in to (not exactly what most Christians would look at as "sin" but) what I look at as numbing dishonest bullshit... self awareness has escaped the hipster male who lives off pizza dreaming of some Vice magazine fantasy life, a Sasha Grey prize girlfriend except who would only fuck them and keep quiet about anything real unless it was interesting enough to impress their dude friends. It's not to say hetero women don't enjoy porn or weed or beer and don't want to fuck a la carte themselves, but still we live in a world where a lot of this lifestyle works in favor of males. The idea of "free love" was upheld by Emma Goldman and the anarchist movement of way back when, but '60s counterculture made it easier for men to more openly fuck women over.

My problem with pro-sex feminism are the "two can play that game" ideology, that women and men can fuck whoever (and fuck over) each other equally, and that there is no truly evolved method of dealing with sexuality in a continuation of ridding ourselves of Christian guilt. Women's options for partners are less-politically motivated male counterculture vultures setting up a social structure that benefits themselves, giving women the idea that they should be "nice girls" who will let them fuck and run. So women fuck and run to beat them at their own game. No walls are broken down. And, worse yet, I know for a fact that a bad ass woman with brains and grit is still somewhat terrifying in this society, no matter how far women have come. Hipster culture continues to fuck over hetero women everyday. In response to Tiqqun's Theory of a Young Girl:

The Man-Child has two moods: indecision, and entitlement to this indecisiveness.
The Man-Child tells a racist joke. It is not funny. It is the fact that the Man-Child said something racist that is. 
The Man-Child wants you to know that you should not take him too seriously, except when you should. At any given moment, he wants to you to take him only as seriously as he wants to be taken. When he offends you, he was kidding. When he means it, he means it. What he says goes.
The Man-Child thinks the meaning of his statement inheres in his intentions, not in the effects of his language. He knows that speech-act theory is passé.
The Man-Child’s irony may be a part of a generational aversion to political risk: he would not call out a sexist or racist joke, for fear of sounding too earnest. Ironically, the Man-Child lives up to a stereotype about the men from the rom-coms he holds in contempt: he has a fear of commitment.
The Man-Child won’t break up with you, but will simply stop calling. He doesn’t want to seem like an asshole. 
He tells you he would break up with his girlfriend, but they share a lease. 
The Man-Child breaks up with you even though the two of you are not in a relationship. He cites his fear of settling down. You don’t want marriage, at least not with him, but he never thought to ask you.
The Man-Child can’t even commit to saying no.
Why are you crying? The Man-Child is just trying to be reasonable. This is his calm voice. 
The Man-Child isn’t a player. Many a Man-Child lacks throw-down. He puts on a movie and never makes a move. 
Is Hamlet the original Man-Child? No: the Romantics made him one.
Just as not all men are Man-Children, ­neither are all Man-Children men. 
Lena Dunham may be living proof that the Man-Child is now equal opportunity. That is, the character she plays on Girls is. A real man-child would never get it together to get an HBO show. As we watch Hannah Horvath pull a splinter out of her ass, we wonder: Is this second-wave feminism? Or fourth? It is no accident that Judd Apatow wrote the scene. The mesh tank Dunham wears over bare tits is isomorphic with the dick joke.
The hipster and the douchebag may be subspecies of the genus Man-Child.
If the Man-Child could use his ironic sexism to build a new world, would you want to live in it? Would anyone?


In need of attention, the hetero man-child is a bottomless pit he has to keep filling up with booze and boobs. Pretending to be casual (and yet the most jealous individual when it came to open relationships, a hypocrite), the community at large excuses his behavior and the young girls around him blindly follow his lead between bars and house shows, her insecurities being the largest motivation in her consumption of alcohol, making her less uptight and more appealing to his bad boy cool. When he's around his male friends he talks a lot about porn, uses slang that makes him sound like a bro. Because inside he is a bro. And guess what? Your bro bullshit is THE ENEMY.


We defy convention to create an anti-convention convention which only works to keep us free from commitment to introspection, that which we are too afraid to commit to anything. To respect oneself and be respected specifically by those one is intimate with is incredibly important on either side of the coin. But isn't that what our culture is souped up with? Vice magazine is really popular. Man children everywhere with egos being pumped up with connections, he's gotta stick his dick in things just to feel loved because there is nothing in him that loves himself. Sadness can be fixed by cocaine, at least for a little while. Real change never happens through ignoring oneself, using pussy or pills for band-aids. Real change happens through real change.

WHY WAS LADY GAGA A CULTURAL ENTITY?




Long before Andy Warhol's 15 minutes of fame, Planet Earth was obsessed with its icons and, in the Modern First World context, our pop stars are still close to deities. Hollywood Babylon continues to prevail via multi-god Pagan worship even though it's more so a Planet Hollywood cheeseburger glossy magazine map we're looking at. Still, humans are always sniffing out the next representative of empowerment (Beyonce) or self-destruction (Amanda Bynes), Virtue (humanitarian Angelina Jolie) or Virile (sexxxy hot mess Angelina Jolie). 



Lady Gaga is not a genius but... dare I say it... American pop culture definitely needed her presence. It's not really HER presence but THE presence of something LIKE Lady Gaga that has been somewhat enriching for mainstream culture. However, Lady Gaga as a cultural entity grew somewhat out of hand. It's a bit ridiculous that USC offered a class about Lady Gaga exploring "business and marketing strategies, the role of old and new media, fans and live concerts, gay culture, religious and political themes, sex and sexuality, and the cities of New York and Hollywood". And where I obviously love the idea of such a class (the combination of counter culture and capitalism is a favorite interest of mine), why would this class just focus on one pop star? Why Lady Gaga?


Since The Fame came out in 2008 (re-released as The Fame Monster in 2009), Gaga has been on the world's radar as a petite NYC powerhouse with a knack for songwriting and infused other-worldliness in all her clubbed-up aesthetic undertakings. Above all she made herself highly visible, creating a demi-Goddess via methodically marketing her persona as a different breed. Instead of the demure sex kitten many pop stars play, Gaga blatantly embraced an artistic angle, slight shock-tactics with lyrics about hate fucking and shout outs to glam rock aesthetics. A party-fried princess from outer space with a bad attitude, even if you hated her music, you noticed. She wasn’t the typical peach tan nubile flashing her panties in a school girl skirt. Gaga was doused in glitter and gasoline, her Italian nose probably crammed with cocaine in a fury of blonde hair, crazy stupid shoes and shiny jumpsuits. Her "look" became weirder with time... dare I say it? Avant garde. At least for suburbanites.



Avant garde is exactly what Gaga wants to be. In a multi-media capable time frame where "performance art" has entrenched our galleries and art school ideologies, it makes sense that Gaga wants to be MORE than just a musician, though her success with it is debatable. Gaga's artistic flairs mostly have shown through her aesthetic choices (uh hm, fashion). And it's not just that Lady Gaga’s wardrobe was built for an icon but first glimpse would suggest that what is worn by the girl can make a girl more Goddess-like. The word “war” is in “wardrobe” after all and Gaga's war paint was fierce as fuck from the beginning, regardless of how industry-encrusted she is. Thus all over the world the Lady was either hated or loved. 



House of Gaga conglomerated things fantasy-loving ladies love: David Bowie lightning bolts, white lacy “Like a Virgin” bustiers, Alexander McQueen with a little Jersey Girl bling. That was the wave of the Future then is the current culture happening now:  all pop stars suit themselves in junk culture cosmos (hello Katy Perry, Nikki Minaj, Azealia Banks, anyone and everyone). I believe at least we can give credit to for this change in culture. Gaga's conceptual get-ups (meat dresses, alien prosthetics, diamond wheelchairs & high fashion disability accessories highly criticized) were weird enough for society to find her worth examining. Whatever the message, Gaga seems outrageous compared to the Faith Hills and Mandy Moores of before, landing Gaga in the category of either insane, fantastic, or both.


WHAT ESCAPES THE MEDIA & EVERYONE GUIDED BY IT is that Lady Gaga is no origin of anything whatsoever (Madonna has even accused Gaga of ripping her off, but the homages to Madonna barely scratch the surface of Gaga's spectacle). Gaga will never be the first (or last) pop star to be overtly and aggressively sexual especially in the expected pornification of pop culture. Gaga did however bring the sexpot slant to repeatedly touch on disturbing sexual subjects. I don’t trust the masses to understand the statements being made in the “Paparazzi” video considering that it sexes up “murders” in a perhaps careless manner. "Paparazzi"'s fetishizing violence against women has been analyzed in both a positive and negative light. 
Female musicians in mainstream rock have touched on the sexual AND self destructive nature of the femme psyche before (answer: “What Is Kinderwhore”). Is it revolutionary to touch on similar subject matter in an arena of palatable model-thin bodies accessible to a perhaps vapid audience? This depends on what kind of faith we have in the idiocracy that exists. Taking the shock factor of rock’n’roll and packaging it into a Brazilian waxed pop star glitter girl in impossible shoes could get misconstrued.



I do LIKE Gaga's blend of references in her Pop Star creation. The less informed may rant “LADY GAGA IS SO GENIUS, SHE’S SO ORIGINAL” but those of us who know better see the references she wears on her sleeve. I don't believe Gaga acts like the entire '80s artsy fartsy New Wave era didn’t exist. Fantasy play has been abundant in the past and there was a huge abundance of past fantastical pop stars. One that Gaga particular resembles is Missing Persons' glam sex goddess Dale Bozzio, who before singing was a Hustler model/Playboy bunny and back-up singer for Frank Zappa. Dale lived in LA amidst neon sports cars, dayglo beach bikinis and the sleazy downtown night life with an accent purely from Boston. Superbly sexy, she chose to embrace an alienoid stage presence, making crazy slutty costumes out of plastic wrap and see-through trash. However, most people’s familiarity w/ Missing Persons now is hearing “Destination Unknown” in Best Buy (I wrote more in depth about Dale and Missing Persons here). There’s not only a strong physical and aesthetic similarity between Dale Bozzio and Lady Gaga, but both "don't fuck with me" attitude and disillusioned and distraught lyrics are also highly important for both babes' personas. Dale was her own liberated lady, surely, and there were MANY others like her. The 1980's was full of colorful pop stars with fantastical aesthetic who sang about fucking or sadness or alienation and that was COMMON.



 

The '90s checked out from the fantastical landscapes in favor of tanning booth-ed Britney Spears and the grim-realism-meets-ego-pumping of macho neu-metal and rap. The world happily welcomed Gaga’s blend of performance art and pop tunes as a new thing when really it was just a refreshing breath back to the old school from the prep/redneck/dude-ism party that had reigned for so long. We can thank Gaga for bringing back some magical sparkles to the girl next door because our society has been starving for escapism. The attention Gaga’s received above all others specifically DOES create some alarm though. There were no universities in the 1980’s taking particular artists as examples:  “here’s the gender study class of Kate Bush”, even though Kate was all Gaga + more 20+ years ago. Is society really so desperate for a weirdo pop star mascot that we have to turned her into a subject of academic study?? Apparently so. What has happened to make us look at Lady Gaga for a moment like she was the only solitary pop genius pushing boundaries? How can anyone say Gaga's music is better than Prince or Madonna or Michael Jackson? And on the flipside what has happened to society that we expect Lady Gaga to be something more than a pop star, to perfectly dictate political beliefs and manifestos? 



Right under the Vogue magazine radar we have had a slew of semi-polished fantasy girls with dance beats and magickal vibes and it's not like Grimes was the first. Bjork followed Kate's footsteps (and has referenced Kate as an influence) - the Icelandic indie ingenue ending up reigning '90s alternative music charts and beyond with her conceptually tipped toes dipped in the dance community. Bat for Lashes, Goldfrapp and a whole slew of fairy tale dusted divettes have been hanging around our iTunes libraries for some time. Society’s creative pulse has shown signs of improvement with the presence of pop stars like Gaga and the intense popularity she's acquired, a great sign. We've needed to return to a world where expressive creative women are visible in every American household. Focus on creativity and strong personas for women artists speaks of some praise to elemental goddessry amid the manufactured world of art and music.


I also have no problem with pop stars who have heart, but at the same time, how manufactured is the heartfeltness of a pop star who targets sacred causes as a focus group for their marketing schemes ($$$)? Without personally knowing these celebrities, their true passion on such issues can be hard to identify. Lady Gaga has definitely honed in our her queer audience and noted the struggles of their community, even building her Born This Way tour up around her supposed stances on sexuality. Since we live in a world where feminism, racism and gay rights are discussed daily in popular media, our pop stars are not excluded from making note of them and perhaps even incorporating these issues in their message. Still, it's somewhat disheartening to witness any trivializing these pop stars may be doing in the process:
“This is the paradox and irony at the heart of Gaga’s entire project: a kind of earnest flippancy. I remember vividly one of her sermonettes at the particular Monster Ball I attended in Nashville. With a fiery conviction that would outdo any southern preacher, she proclaimed to us: “Jesus loves every fucking one of you!” And I have no doubt that she was aware of the signs being picketed about outside the arena before the show, urging “homosexuals” and other “sinners” to “repent.” Gaga assumed the role of counter-preacher, and she wasn’t kidding around. But her sermonette didn’t lead into some moralizing or tear-jerking song. It led into a raucous performance of “Boys, Boys, Boys,” as if to say, the only proper theological response to bigotry and hatred is to dance in its face to the tune of a (seemingly) vapid pop song.” 
from Gaga Stigmata (online academic journal)


Maybe it's best to conclude this with the words of those who have thought it to put Gaga on a pedestal in the first place via a Salon.com article with the author of Gaga Stigmata:
"Lady Gaga has inspired more academic readings of her work than other current pop stars. Why do you think that is? 
Vicks: Part of it is the way that Gaga appropriates symbols and value systems for her act: Mickey Mouse, Star Wars, Americana, freemasonry, capitalism, consumerism, Quentin Tarantino, Stanley Kubrick, Michael Jackson, Madonna, Christianity, monarchy, Kermit the Frog, to name a few. Taken piecemeal, they totally contradict each other. But together, they create a cohesive picture of Gaga. She embodies a number of oppositions: sacred and profane, man and woman, sexy and horrifying. Her performances continually underscore her ambivalent nature; she can’t be defined. She complicates categories of gender (masculine or feminine?), sex (does she have a dick, or not?), body (where does her body end and costume begin?), and human (is she human or monster, and is there a difference between the two?). 
She also demonstrates the way fame functions; how we’re obsessed with spectacle. Lady Gaga enjoys the benefits of being a pop star while simultaneously revealing those trappings to be poisonous, frivolous, murderous and fake. It’s something that many conceptual artists do: they deconstruct ideology by too loudly chanting ideology’s slogans, or too blatantly displaying its symbols. The beautiful pop star is at the same time a monster (“Bad Romance”); the disabled pop star turns her disability into a dance, into artistic movement (“Paparazzi”); or what is supposed to nourish both nourishes and destroys (“Telephone”). Gaga dressed up as a queen when she performed for Queen Elizabeth, and fashioned herself as Barbara Walters when she was interviewed by Ms. Walters herself. These official figures are thus brought face to face with a spectacle of themselves."

COCTEAU WAS COCTEAU BEFORE HE DID DRUGS: LIQUID SKY



I kind of have "bad" taste, though I don't think of it that way. Sometimes my friends scoff at me and say "Sunni, you know, this isn't a good movie/song/outfit/whatever/etx. In fact this is BAD." I love what I consider "good/bad" movies. I wonder sometimes if B-movie stands for BAD-movie. But no one can tell me what to love and I love kitsch, trash, cheese as much as the next stoned Peter-Pan-complex escapist waiting for a Karate Kid moment or John Waters career to happen to them before they turn 35. Gimme Barbarella bustiers, Earth Girls Are Easy mental margaritas with a Miami Connection soundtrack to my life and I'm in heaven.

A DOLL NAMED DALE BOZZIO



Dale Bozzio was a blurb in time, an American fairy tale of a Bostonian bad girl stepping into magical glass stilettos of '80s Hollywood glamour. A sexpot harnessing the power of dynomite-w/-a-lazer-beam, Dale had the get-up of a girl who should be pole-dancing the polar shifts of the universe, slutting it up on the irridescent rings of Saturn, using the Milky Way for her eye make-up. Initially this is why I liked her:  she was part Jem and the Holograms pop star, part glam rock space cadet, part Los Angeles big hair metal streetwalker.

COVERS BY THE BAND HOLE



Courtney Love is kind of a crazy bitch. I don't even know what she does anymore - I don't really think she is much of a musician these days, more so historical/cultural celebrity that goes to parties and gossips to the media. She randomly pops up here and there with "Courtney Love" collections of babydoll dresses, making angsty teen girl drawings for art shows along with friend David LaChapelle's portraits of her, and online media talking about how Marlon Brando might have been her grandpa.

PRINCESS PETER BURNS ON IMAGE & AESTHETIC



Cream in your panties, wild horses! Wild horses can not be tamed! This is the anthem for the wild horse in us all + look at his hair (long locks, that perm!), and his lips (and lip gloss!), and his earrings (great choice!), and his hips shaking. I do not believe there were many men as beautiful as Peter Burns was.

5 INT'L BROS OF JOY DIVISION


Everyone at this point knows Joy Division's career was short lived. It only took two studio albums for the British group to have a huge influence on New Wave (and darkwave and synth-punk and Goth rock and industrial and blah blah blah).

GREGG ARAKI'S DOOM GENERATION





The early 1990's declared apathy the modus operandi of Generation X. A decade doused in stupid facial hair and a severe lack of care, America's youth guzzled cappuccinos like fascist Italy except in combat boots lamenting personal tragedy underneath Gap ads and Nike signs. Prozac Nation was just the tip of how society was glamorizing depression. The fact that high-end fashion houses selling $200 t-shirts presented alternatives to the healthy Glamazon '90s Supermodel with a new set of waifs a la heroin chic was a start.

YOUR SPOCK ROCK HAIR CUT



1.spock rock16 up11 down
A silly nickname for Emo music due to some of the haircuts.
It's safe to say that the 2010's is experiencing a revival of Goth and industrial synth-based music from the '80s. Bauhaus and Cocteau Twins as well as lesser known Clan of Xymox show up on my FB feed often. I ran across a great Euro '80s synth compilation called Maskindans via Minimal Wave which friends get down to at house parties when we can stealth our way to the laptop music controls. The return to darker awesomeness in our digital musical collections has been appropriate as many current bands have been directly influenced by (if not copying from) 1980's morose pop tomes (ex. Cold Cave's obvious Joy Division/New Order steez).

MY BABYSITTER, THE INTERNET

 "High school is the worst thing ever for pretty much everyone and I don't think 18 is a good age for most kids for college. From what I've seen, most people handle it better later on. Seems like there's been a shift though, like kids are maybe more sheltered now. There's just a completely different sort of socialization going on. People communicate via MySpace, or texting on cell phones more than anything. I don't think they can communicate as well in person. There's a lot more anonymous support out there for things that aren't necessarily good, like 5,000 anorexia LiveJournal communities which support and encourage anorexia and every teenage girl knows how to use the internet. And that's just something common! God, the connection it's given ICP fans! All those "Mad Rad Hair" communities... way to make every kid look the same. So there's just a whole new layer of peer pressure thanks to the internet, peer pressure and general influence, isolation. I would say that dealing with people in person is much more visceral in that it's likely to deeply affect someone, or cause them to consider things in a more dynamic way, whereas internet peer pressure is more like subtle brainwashing, like advertising."
- Russ of Beez, a few years back