Showing posts with label Music. Show all posts
Showing posts with label Music. Show all posts

Thursday, September 20, 2007

Let's Get This Fiesta Started

It’s hard to believe that a full year has passed since I last discussed Hispanic Heritage Month in the United States. As you might recall, I have ambivalent feelings about these racialized “months.” I appreciate the intent to at least try to give attention to the history of racial minorities in the U.S. I also think, though, that such months give the wrong impression that the history of racial groups is somehow distinct from the history of the U.S. African-American history is the history of the U.S. Latino History is the history of the U.S. These aren’t “add-ons” or footnotes. Rather, it has been the very core of this nation’s development.

Such were the things that I was thinking (again) in one of my classes. We had reached the U.S.-Mexican War in our chronology. That particular day, I inadvertently left behind half of my lecture notes in my office. Much to my surprise, it turns out that I can basically give that lecture without any notes. I could even remember details down to certain statistics about casualties (The U.S. bombardment of Veracruz, for instance, resulted in civilian causalities outnumbering military casualties 2:1). Yes, my lectures are well on their way to being just that stale and route. Good news for my future students!

Having knowledge of that war so deeply ingrained in my psyche makes me quite unique in this nation. Thanks to the ways that the U.S. structures its educational curriculum, most Americans have a hard time even identifying the right decade (and century) of the U.S.-Mexican War. Indeed, they most often confuse the Spanish-American War (1898 (think Puerto Rico)) with the U.S.-Mexican War (1846 (think Texas, NM, AZ, and CA)). It’s an easy mistake. They were both started to satisfy the U.S.’s imperial ambitions. They both also ended with a huge number of Latinos involuntarily being incorporated into the U.S.

None of that history, though, is really discussed in our nation’s public schools. The U.S.-Mexican War, when it is taught at all, is usually presented as a noble fight by brave [Anglo] Texans against a tyrannical government. Or it is (ahistorically) taught as a prelude to the U.S. Civil War. Whichever the case, the complex history of the Mexicans who got pulled into the U.S. thanks to that war are basically ignored. Indeed, so little is known about Latinos in the U.S. that the mainstream media is often befuddled when it is forced to grapple with them.



The other evening I happened to catch The Daily Show showing clips from Alberto Gonzales’ farewell party at the Department of Justice. Gonzales was such an abysmal failure and so entirely incompetent as Attorney General, it is horrific to me to even acknowledge that he was the highest ranking Latino government official to date. Regardless, The Daily Show made their usual fun of the situation and Gonzales’ exit. What they missed, though, was that the Department of Justice presented Gonzales a statue of four nineteenth-century Texas Rangers as a parting gift. That gesture alone shows just how little the Mexican perspective is taken into consideration in this nation.

For most of the nineteenth and twentieth centuries, the Texas Rangers maintained Euro-American racial dominance over Mexicans through a campaign of harassment, terrorism, and murder. The Rangers' “heroic” reputation hinged on their ability to execute Mexicans and Native Americans, especially those who dared to challenge the racial status quo in Texas. Indeed, the Rangers were frequently implicated in the lynchings of many innocent Mexicans along the border. They were then often rewarded by the state government which gave the Ranger the dead Mexicans’ possessions.

To therefore present Mexican-American Alberto Gonzales a statue of “brave” Texas Rangers would be the same as presenting an African American with a statute of "daring" Bull Connor. Or a Jewish American a statue of "thoughtful" Adolf Eichmann (Truth in Advertising: I might be mingling my own personal issues with this incident. One of the last things that Liar Ex (Who Told Many Lies) ever gave to me was a “Texas Rangers” badge with my name imprinted on it as a “joke.” He just didn’t understand why I was horrified and repulsed. Instead, he dismissed me by saying “I made too big a deal out of it -- as usual.” In reality, he exposed (once again) just how little he respected the history that I cared about very deeply. Actually, screw respect, he didn't even try to learn that history. In our eight years together, I don't think that he ever bothered to crack a single book on Chicano history/Mexican history/the history of the U.S.-Mexican border/ or the history of race in the U.S. He was such a loser, self-centered fuckwad. -- Huh, clearly some unresolved issues there! Funny how they sometimes appear out of nowhere. Annnnnnyway . . .). The fact is that Mexicans’ abuse and death at the hands of the Texas Rangers has not reached the consciousness of most Americans, including The Daily Show (which has zero (o) on-air Latino correspondents).

After 150 years, the U.S. still pretends that people of Latin-American descent are “new” to this nation. Even the gay-oriented Logo network fell into this presumption. In recognition of Hispanic Heritage Month, Logo’s news division (a subsidiary of CBS) produced a documentary on gay Latina/os. I appreciate the effort, especially given that most gay media basically ignores Latina/os entirely. Still, Logo decided to given the documentary the unfortunate title “Los Otros” (literally “The Others”). The title reenforces the presumption of Latinos’ perpetual foreignness by literally naming them racial “Others” and by the intentional use of a Spanish title in an English-language program.


Such decisions obscure how deeply intertwined the United States and Mexico actually are (and have been). As much as Canada is often ignored or presumed to be an undifferentiated extension of the U.S. (because of its perceived status as a “white” nation (ignoring the Canada’s own immigration history)), Mexico (much less the rest of Latin America) is imagined as entirely foreign and irreconcilable to U.S. institutions (and perceived as non-white/sometimes white/white, but not really white).

The Mexican border’s “forbidden” status has created an image in U.S. popular culture that makes it a site of sexual intrigue and danger for Euro Americans. In the U.S., Mexican women have frequently been presented as the sexually available, but dangerous, “hot tamales.” Take, for example, a slew of songs that were popular during the middle of the twentieth century. Using tropes that had existed for over a century, these songs depicted lusty and untrustworthy Mexican women leading Euro-American men to their doom (often at the hands of cruel and evil Mexican men). Jay and the Americans recorded “Come a Little Bit Closer” in 1964. Set in a “little café just the other side of the border,” the song tells of a [Euro] American man being lured by an unscrupulous Mexican woman to “come a little bit closer.” At the end of the song, the American must flee for his life from the bar, for “she belonged to that bad man Jose.”



Similarly, Marty Robbins’ “El Paso” (a song, by the way, that I grew up listening to totally uncritically) centers on “wicked Felina,” a Mexican woman who dances for money at Rose’s Cantina. The song doesn’t mince words about Felina, telling us, “blacker than night were the eyes of Felina, wicked and evil while casting their spell.” This time around, the wanton ways of Mexican women resulted in the tragic death of not one, but two Euro-American men. Though Robbins would later write a sequel (and much less popular) song that told Felina’s side of the story, the original “El Paso” epitomized the U.S. perception of Mexicans as sexually deviant and dangerous to good, honest Americans. There is an unspoken fear that Mexicans and Euro Americans can’t possibly coexist in this nation without one group being destroyed.

We could see this most visibly in the immigration reform debacle this past summer. A creaky bipartisan bill that, among other things, would have granted undocumented workers a pathway to U.S. citizenship died from equally bipartisan opposition. Conservative Republicans argued that it wrongly provided “amnesty” to those who had broken the law. In a common contrivance, Republicans suggested that crossing the border without proper authorization was probably the lesser of many crimes that Mexicans commit in the U.S. Senator John Cronyn, one of the two Republican Senators from Texas, explained that he opposed the reform partly because “criminals might slip” through the process. Those on the political left also took issue with bill. Tom Harkin, a Democratic Senator from Iowa declared that the immigration bill would have driven down wages for Americans “on the lower rungs of the economic ladder.”




Rather than acknowledging the complicated history of Latino/as (both U.S. citizens and Latin-American nationals) who have lived for generations in this country, the most common image of Latinos in the mainstream U.S. is that of an undocumented and unskilled worker who threatens the economy, social services, and even the very foundation of the nation! Let’s discuss that for the next month.

Thursday, September 06, 2007

Terrible Twos

All of the ballyhoo surrounding the start of classes made me lose sight of my blogoversiary. I have been using the internet tubes to spread my gravitas since September 1, 2005. For two years, we have shared triumphs and tragedies. Together, we have started the complicated work of building a massive media empire for GayProf.

I am sure glad that we get to spend this special time together. It's such a good feeling, a very good feeling. The feeling you know that we're friends. And I'll be back, when the day is new. And I'll have more ideas for you. And you'll have things you'll want to talk about. I will too. It’s such a good feeling.

Normally when we hit a milestone at CoG, I encourage my readers to consume liquor (usually quite heavily). I still do (Are you drinking enough, son?). This time around, some sort of prize seemed in order. I already did a fairly recent quiz, though, about things you could know about me from the blog. So I had to think.

Last night, as I was driving home from work, I was listening to Neko Case. As I sang along mindlessly with the lyrics to “Favorite,” I suddenly stopped and asked myself, “Did I just sing ‘Last Night I dreamt that I hit a deer with my car’?” Given that I am often wrong about lyrics, I Googled them. Indeed, Neko Case does sing about cervidaicide. Huh.

It reminded me how we often ignore the lyrics to songs we enjoy. Lyrics, in my mind, are critically important to enjoying the music. I consider myself a more attentive listener than other people I know, but I still often fumble things. Sometimes vital words to songs just pass through our ears over and over again without us noticing. Indeed, I have often hid lyrics to songs within many entries on CoG. To date, only three people have ever noticed (or cared enough to comment on it).

In some instances, not paying attention to a song’s lyrics can really miss the point. Billie Holiday, for instance, used to complain that people would request her anti-lynching song “Strange Fruit” by asking for “that sexy song about black bodies swinging.” She was not impressed.

This thought-train reminded me of a meme that Rebekah posted a few weeks ago. She listed the opening lyrics to several songs and asked her readers to give the correct corresponding artist/title. At most, people could guess maybe one or two each. Thus, I decided it would be an ideally arcane means to give out a prize.

Here are the [adapted] rules for the meme:

    1) Put your mp3 player or music player on your computer on random.
    2)Post the first four lines from the first 20 songs that play, no matter how embarrassing the song (Skip repeat artists).
    3) Post and let everyone you know guess what song and artist the lines come from.

Add your guesses to the comments section. The first person to guess them all (which is highly unlikely) will win a prize. The more likely outcome is that I will send it to the person who has the most songs right by the next time I write an entry. This means even an individual with just one right answer could potentially be one of life’s winners (if everybody else refuses to participate or really gets things wrong).

What will you win? Well, it will be similar in theme and content to the prize modeled by CoG’s official glamour model, VUBOQ:



Remember: The eye of Hera is upon you. Looking lyrics up on Google or any other search engine is cheating. CoG operates on an honor code and GayProf doesn’t tolerate academic dishonesty.

Do you hear what I hear? If so, name that song and artist:

    1. So Your Girlfriend Wants to be a Popstar
    And Beat the Charts Outta Me
    She Wants to Move a Million Units, Man
    Probably Just to Prove She Can

    2. Starry nights, city lights coming down over me
    Skyscrapers and stargazers in my head
    Are we we are, are we we are the waiting unknown
    This dirty town was burning down in my dreams

    3.Home for Sale
    That’s Much Too Large
    Too Many Rooms
    Big Ol’ Empty Yard



    4. Quiero Bailar, Quiero Sentirme Hermosa
    Quiero Cantar, Ver el Amanecer
    Quiero Sentir sólo Tu Dulce Boca
    Y Bailar, Quiero Sentirme Bien


    5. In My Solitude
    You Haunt Me
    With Dreadful Ease
    Of Days Gone By

    6. I Get Really Sick and Tired of Boys Up in My Face
    Pick-Up Lines Like "What's your sign?" Won't Get You Anyplace
    When Me and All My Girls Go Walking Down the Street
    It Seems We Can't Go Anywhere Without a Car that Goes "Beep-Beep"

    7. Give Your Heart to the One
    Who Gave Her Heart to You
    If You Must Play the Game
    Play it Fair (Play it Fair)

    8. How Do I Look?
    How Do I Look?
    Woke Up This Morning, It’s a Brighter Day
    I Looked in the Mirror, Saw a New Face

    9. I Wasted My Tears
    When I Cried Over You
    I Should’ve Known
    You Would Never Be True

    10. The Tide is High, But I am Holding On
    I am Going to be Your Number One
    I am not the Kind of Girl Who Gives Up Just like That
    Oh No!

    11. You Know, There are Two Sides to Every Story
    See, I Don’t Know Why
    You are Cryin’ Like a Bitch
    Talkin' Shit Like a Snitch



    12. You Say You See What's Under Me
    That the Gloss has Washed Away
    But You're the One Whose Color's Gone
    From Love to Dirty Grey


    13. Funny Cause for Awhile
    Walked Around with a Smile
    But Deep Inside, I Could Hear
    Voices Telling Me "This Ain't Right"


    14. I Wish You Could Swim
    Like the Dolphins
    Like Dolphins can Swim
    Though Nothing
    Will Keep Us Together


    15. But She had to Go and Lose it at the Astor
    She Didn't Take Her Mother's Good Advice.
    Now There Aren't So Many Girls Today Who Have One
    And She'd Never Let it Go for Any Price



    16. Sweet Dreams are Made of This
    Who am I to Disagree?
    Travel the World and the Seven Seas
    Everybody's Looking for Something

    17. I’m Coming Out
    I’m Coming
    I’m Coming Out
    I’m Coming Out

    18. I Won’t Let You Down
    I Will Not Give You Up
    Gotta Have Some Faith in the Sound
    It’s the One Good Thing That I’ve Got

    19. Non, rien de rien
    Non, je ne regrette rien
    Ni le bien qu'on m'a fait, ni le mal
    Tout ça m'est bien égal

    20. See My Days are Cold Without You
    But I'm Hurtin’ While I’m with You
    And Though My Heart Can't Take No More
    I Keep on Running Back to You


***Bonus:***
All the World's Waiting for You,
And the Power You Possess.
In Your Satin Tights,
Fighting for Your Rights

Saturday, March 03, 2007

Sing for the Meme

Much discussion appeared over the last post. In those comments, I found that we can easily become side tracked or mired in negative feelings. At times like these we need to be reminded of what is really important: This blog is about me.

What? You didn’t think that I was going to make some call to think about our common humanity, did you? Yeah – We are all human – The world is a little flower – blah, blah. blah. Whatever – All eyes back on GayProf.

To that end, ROG had a nifty little meme that would help me create the soundtrack to my life. As you know, 20th Century Fox will surely be buying the rights to my life story at any moment. I imagine it will be titled: Valley of Gravitas or maybe GayProf Dearest.

Whatever the case, here is how the meme works. Open your music player and select your entire library. Place it in “shuffle” mode and see which songs come up for each of these questions (As usual with music memes, I altered the rules to prevent the same artist from being repeated. Otherwise, my entire life would be one long Billie Holiday song (which may have its own accuracy, but still)):


    Opening Credits: “Transistor” by the Scissor Sisters -- It’s only appropriate that a queer band opens my queer, queer life. The slow quasi-distorted feeling seems mood appropriate.

    Waking Up: “Good Daddy Blues” by Dinah Washington – Hey, what gay man isn’t looking for a daddy to pay for the champaign?

    First Day of School: “Juke Box Blues” June Carter – Oddly enough, this song does have a youthful feel to it – There’s something about nickels (the most useless form of currency) and jukeboxes that connotes childhood.

    Falling in Love: Anastacia “One Day in Your Life” – Yeah, great. Why does itunes always select songs in which my falling in love results in disaster? Oh, right, because all of my songs in itunes are about love ending in disaster.

    First Song: ”Waltzing Along” by James -- This song was once recommended to me by the glamorous Helen. It has some basic truths that keep my life in perspective – Help does come when you need it most -- And all roads do lead to death row. Who knows what comes after?



    Breaking Up: “Just Friends” by Billie Holiday – Of all the Holiday songs to connote my most major break-up, this is the least appropriate. Holiday built a career singing about low-down, scummy, liars (who told many lies) – Out of all of that, itunes came up "Just Friends?" If there is one thing that I know, I will never be friends with Liar Ex (Who Left No Promise Unbroken). I much prefer Kelis' "Caught Out There" as the ultimate break up song. Give me something with lyrics about setting a truck on fire. Unless this song is still supposed to be about high-school -- Then we are talking about dating girls, in which case it makes perfect sense. This meme is a bit unclear in its chronology.

    Prom: “This Can’t Be Love” by Ella Fitzgerald -- Apparently itunes thinks that I am thirty years older than my actual age and speculates that I went to prom in 1956. Eh -- I get that a lot – It’s the gravitas. Of course, given that I went to my prom with a girl (in 1992, fyi), Ella might have a point about it not being love. I fall in love with the menz.

    Driving: “One Man” by Pearl Bailey – It doesn’t strike me as a dynamic driving song – Still, who can’t appreciate the sentiment? One man just isn't enough, darling. Sing it, Pearl: “Someday one man might call my bluff, but until then, more men, ‘cuz one man ain’t quite enough....” Really, it's often about the strippers for GayProf.



    Flashback: ”I Cried a Tear” by Lavern Baker. In my life, I have cried many tears – That’s kind of a downer, though. Based on this soundtrack, watching the movie on my life will drive the audience to a mass suicide.

    Starting a New Relationship (I changed this from “Getting Back Together,” because I don’t condone keeping dysfunctional relationships together): “I’m Gonna Be Alright” by Jennifer Lopez – Okay, so seemingly this new relationship is based on a presumed disaster – again. I have really got to invest in some more optimistic music.

    Wedding: “Solitude” by Helen Humes -- What a romantic song for a wedding – an entire song devoted to aging, regret, and being trapped in your solitude. Nice. Clearly that will be a healthy marriage.

    Birth of Child: “Home for Sale” by Dwight Yoakam – Well, if I ever got saddled with a human-worm-larvae, you can bet your bottom dollar that I would put my home up for sale and move as far away as possible. Thank the goddess that I am gay and the chances of that accidentally happening are basically zero.

    Final Battle: “Pity” by the Creatures – Seemingly my final battle will occur with a subtle island theme. I like the idea of my final battle being so low-key – no harsh themes or screeching synthesizers. They should serve tropical cocktails and everybody should wear festive clothing during my final battle. Just because I am busy triumphing over the forces of evil doesn't mean that other people shouldn't be having a good time.

    Death Scene: “Overnight Sensation” by Tina Turner – Well, if I am dying, it might be a bit late to think about being an overnight sensation. Still, I did spend a long time working in the backline. You know it never was right. Then I said, “Girl, get up and get out of this mess.” Now I am an overnight sensation.

    Funeral Song: “Runaway” by P!nk – Well, I can’t think of a more extreme way to runaway than being dead. Still, I presume that “Don’t Cry for Me Argentina” will by my actual funeral song. I imagine that all the school children will be let out for the day, banks will close, and the nation will stop to remember the greatness of GayProf. What -- Too vain?



    End Credits: “Thursday” by Asobi Seksu – Recommended by that brown-eyed, handsome man Cooper, this feels like a good way to end the film. I imagine that the audience will hear the lines, “since you’ve lost your way, you’ve let our love fall apart” and regret ever losing focus of GayProf. In exiting, they will all pledge themselves to be devoted priests in my cause. Or so I imagine.


Hmm – It seems my itunes is filled with music that's a tad obscure. With this soundtrack, maybe you should just wait for the DVD.

Sunday, February 25, 2007

Video Ga-Ga

Lots of good things have been going on lately. This, though, results is a lack of ideas for my little bloggy. We all know that my secret powers comes from my gravitas. Without that, I am nothing. Well, actually, I am still the most desirable man on the blogosphere – but I am just the most desirable man who has not much to say.

While we wait on that gravitas to return, take a look at some old music videos from the eighties. You know, sometimes I get to thinking about those old videos, and I miss them. Yeah, it’s not particularly original to bemoan the days when MTV actually played videos. When I was a young lad, however, my sisters and I spent hours glued to MTV. We memorized every detail of the original VJ's and created elaborate back-stories for them. We were pretty sure that Martha Quinn was sleeping with everybody. Who knew that she would later marry (in the t.v. world) on the Brady kids? Then MTV had this other woman we always referred to as "Tweety-Bird" because of her blond spiky hair -- Anybody remember her name? Eh

Still, that early eighties witnessed the creation of a stylistic art for music videos. It was not enough to simply get air-time, artists had to create visual entertainment to accompany their song. Many succeeded at this venture, but The Eurythmics and Queen became masters. Each of their videos had a particular tone. Those videos, in turn, became self-referential and mutally reenforcing. One needed to know all (or at least some) of the previous videos for the newer ones to make sense. Annie Lennox created alternate personalities and characters that almost had lives of their own. Freddie Mercury brought every gay iconic image to the small screen: Leather guy, eighties clone, weird-mechanic person. He had them all in his videos.

Some artists still put the same effort in videos (That cute lesbian Eminem comes to mind. She is a lesbian, right?). Where do those videos even get a venue?









Of course, as much as MTV always liked to claim it was avant-garde, it often balked at things that seemed too confrontational. We all remember the Cher-in-a-leather-band-aide verses Madonna-chained-to-the-bed controversy. Many people forget that long before that MTV-created cat-fight, the network policed gender roles with vigor. Two videos, in particular, made the MTV executives very nervous in the eighties: Queen's "I Want to Break Free" and The Eurythmics "Love is a Stranger."

Looking at both again, we can see why they made the suits so squirmy. Both are devoted to drag performances of different types. Yet, they are such absurd and cartoonish takes on gender, they suggest that all gender roles are just learned social performances (Judith Butler must have been a huge MTV fan) with no real root in biology.




Queen recreating the women characters of a popular British soap made the video a big no-no. Well, at least it made it a no-no until 10:00pm. After all, MTV still wanted to make a buck off the video if it could.

Mercury (without shaving his mustache) and the other members of Queen made exaggerated gestures to their female personas. They wore giant wigs, heavy makeup, and skimpy-minis. They all went about their business trapped within the urban domestic space. Mercury did the drudgery of housework while singing about wanting to break free. It's small wonder that Mercury opens a closet door in the middle of the video as the proposed escape from domestic hell. Opening doors, closet doors in particular, figured heavily in Queen's videos... I am just sayin'.

Beyond the closet door, we see all sorts of scenes of sexual freedom. Mercury romps around shirtless. He then rolls across virtually naked bodies of all genders. For Queen, breaking free was about tossing aside the crushing gender expectations of the household and escaping from the closet. Queen dissmised the unwavering conformity of the Reagan-Thatcher era. They suggested that young queers (or queens, if you will) could find happiness and contentment outside of the confinement of the traditional home.



Annie Lennox didn't get any warmer reception from MTV. An oft-repeated story is that Lennox had to provide confirmation that she was biologically female before MTV would accept the "Love is a Stranger" video. She so easily transgressed gender costumes, MTV allegedly became confused about her "actual" gender.

Lennox starts out the video in one of her eighties-personas: the blond bimbo. She gets into the car, mentioned in the song's lyrics, and vamps it up for the camera. As the video moves along, though, she rips off the wig to reveal the artifice of her gender performance. In that one step she moved from hyper-feminine to androgynous (or even masculine).

The rest of the video she tries on all sorts of different gender identities. Each becomes a play-thing and a mask, none any more real than the next. In case we missed the point, the video concludes with Lennox doing the robot dance -- Suggesting that all the previous gender performances had been as mechanical and artificial as any automaton.

None of the videos on MTV made a direct plea for sexual freedom. Yet, some still acknowledged that many people wanted more out of life than the rigid sexual conformity offered by the eighties. They provided a visual representation of things that many of us wanted to do if we had a little more freedom: Rip off the wigs and bust open the closet doors, all to a catchy tune.

Video, someone still loves you.