Lawrence, one of my cafe rat buddies, just asked me if I had read American Psycho. (Answer: no.) He had just finished it and said he was puzzled. According to him, American Psycho‘s chief character is obviously gay and the business about his being a heterosexual serial killer is actually the fellow’s coded confession for being an irresponsible jerk who has spread AIDS to unsuspecting partners. Lawrence says that, page by page, the book makes little sense if you don’t read it that way. But he has turned up no one who agrees with his theory. Wikipedia, the movie version, googling “American psycho” and “AIDS” — all blank.
Category Archives: Blog
Moral Power
I was just reading the collected X-Men and Power Pack series to my son. Having finished it, I do have a request for writers of kids comics:
Could you please leave out the morals?
Each issue of this has a tidy little message of wisdom for the kiddies…Don’t be mean to your sister! Science is fun! Face down your fears! Believe in yourself! It’s condescending and boring and pointless.
You know what kids learn from super-hero comics? They learn that it would be neat having powers and that stuff blowing up is cool. And they can learn to read, too. And you know what? That’s enough. Just leave it there. The other stuff is condescending and tiresome; kids are either going to ignore it, or….no, there is no or. They’re just going to ignore it. And for parents (or at least this parent) it’s annoying.
So forget the exhortations, would you?. Just tell a story, please.
Neo-Soul is *Real* Soul
Real boring soul, that is. In the last 20 years, R&B has been one of the most omnivorous genres around, eagerly consuming —in some cases wholesale — pop, rap, rock, Bollywood, and a long list of etceteras. In the meantime, neo-soul purists have been the elderly relatives with bad digestion, muttering darkly about moral decay and gas pains. Indeed, as R&B has methodically conquered the world, neo-soul fans have longed wistfully for a purer past, when rhythm was rhythm, blues was blues, and musical crossbreeding had not yet whelped its foul and mongrel breed. Never mind that Ray Charles opportunistically appropriated country, or that Prince loved the Beatles, or that R&B acts from the Coasters on up have been all about relentlessly gimmicky pop music. Since when has logic gotten in the way of righteous breast-beating about kids-these-days?
Sunshine Anderson’s sophomore album, “Sunshine at Midnight,” is as good an example of neo-soul’s wrong-headed crotchetiness as any. Sure, it’s listenable enough,. The lyrics are routinely sassy and strong-minded — without ever latching onto a quirky metaphor or inspired detail. The beats, melodies, and production are all professional — without ever turning into memorable songs. Her singing is strong — without being distinctive. There are one or two exciting moment (like the weird pseudo-classical chorus at the beginning of “Trust”), but they’re abandoned quickly, as if Anderson’s worried that the fogies might catch her having fun. This is soul music as cultural museum piece: tasteful, reverent, and ossified. If Wynton Marsalis did a musical interpretation of “Waiting to Exhale,” or Brian Setzer did an Aretha tribute album, this is what it would sound like (well, okay, maybe not *that* bad, but you get the idea.) It’s all yet more evidence that cred can be a millstone, which is why pre-fab, plastic pop R&B clothes-horses like Ashanti, Cassie and Danity Kane consistently make more innovative music than Mary J. Blige or Macy Gray — and, yes, more soulful music,too.
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This review first ran in Bitch Magazine a while back.
You Got to See This
Via Memeorandum and Wonkette, a 13-year-old named Jonathan Krohn addresses CPAC. It’s incredible. The kid is exactly like Al Franken imitating a wingnut blowhard, but miniaturized way down. He’s got all the authoritative hems and haws and the body language, but the bridge of his nose is such a tiny distance over the microphone.
i warned you this day would come
… in the first post I made here. My long-ass con season has just started up again, meaning I’m gonna be at Wondercon in San Francisco this weekend, Artists Alley table 38, and everybody should come see me. It will be my first con as an internet snarkblogger, so it would be neat if someone came over and live-trolled me.
Also, you should click on my website in the sidebar, because it has been totally revamped and filled with new art, new information, and new financial instruments.
To tie it all together, I’m debuting a drawn essay at Wondercon, which you may also see and purchase at the website, and which I talked about here earlier.
Jack Hill at Reader
I have an essay about the new book about Jack HIll up at the Reader.
Hill’s female characters are both psychosexual props and real people. Cheryl “Rainbeaux” Smith, in an early stage of pregnancy, is an asset to The Swinging Cheerleaders both for the exploitation value of her massive breasts and for the incredibly winning, innocent-yet-skeptical way she watches as her klutzy boyfriend prepares dinner and then drops it on his pants. Hill’s vacillations between humor and sleaze, between affection for his characters and gratuitous abuse of them, are what make his movies such vertiginous romps—unexpected, delightful, and disturbing in a way that a straightforward gorefest, or for that matter, a mainstream movie, could never be. That’s why I’ll take The Big Doll House and The Swinging Cheerleaders over anything by Kubrick, Coppola, or Scorcese.
many can wear the big 80s bomber jacket
[The following rant/reminiscence was prompted by Noah’s set of posts on Wonder Woman as a flawed feminist icon]
I collected most or all of the George Perez run of Wonder Woman when I was a bit younger than Vanessa, Wonder Woman’s adolescent pal. I was into it, especially the young-adult-lit stuff, like the Very Special Issue about teen depression and suicide. But seeing as how that was the first (as well as last) iteration of the character I experienced, I can’t say that Wonder Woman got me young enough to be my feminist superhero icon.
As I’ve mentioned, the mid-80s X books were really the foundation of my superhero (and beyond, if we’re being honest) worldview. There were plenty of well-rounded (by 80s Marvel standards) women in the New Mutants… I consciously identified with Rahne, the meek, pious good girl, but secretly identified with Illyana, because she was so full of rage for no real reason. But ultimately, I think my childhood feminist hero was Rogue.
Her power was, if she had contact with someone else’s skin, they would be knocked unconscious and she would get all their memories and powers. I guess it’s about the power and the loss of control and the terrifying vulnerability inherent in sex, or intimacy of any kind. Who can say what will be unleashed when you touch another person? I think, even as a little kid, I understood that awesome dread.
And the fact that Rogue had to protect herself against intimacy all the time, what did that mean? For one, it meant that technically, her costume was more in line with a man’s costume, skintight but covering head-to-toe, than swimwear/lingerie, like Wonder Woman. Her biggest fashion statement was an oversized brown leather jacket. It signaled both her toughness and her need to shield herself (and maybe as a kid growing up with religiously dictated dress codes, the consciously covering up felt like my reality).
It meant that no one ever ever got to touch her without her permission, or they’d be sorry. And you could say, being as she was created and written by men, that it’s all about straight male fantasies and fears, vagina dentata or whatever, but really. Think of how powerful that statement is for a little kid, who has no power over whether people she doesn’t know will muss her hair or pick her up or worse (I was never molested myself, but I really hated it when adults would be overfamiliar with me. But as a child, especially a female child, there was nothing I could do about it). Not even to mention all the fun when I grew up, where it would have been nifty if random-ass guys who groped me could have instantly fallen into a coma. How’s that for bodily integrity.
It also meant that all her romances were unrequited romances. Which is nice for kids, who know all about wanting, but have no reason yet to be modeling, you know, the actual identity compromises and icky sex stuff of settling down with a prince. That might just have been me, though.
It undoubtedly says something about my current female/feminist identity that the icon I think about is not all Girl! Power! Tough As A Boy! Her great powers were even greater vulnerabilities, and they were centred on her female body. Maybe a lot of the lesson of Rogue was the same lesson I’d pick up in other consciousness-raising works like Cerebus and From Hell: as a woman, you just can’t win.