April 27, 2011

The reign of Tyra Sanchez is over! Long live the Queen!


This week we have been given a new pop icon! A new queen to follow in the footsteps of RuPaul and is given the title of America's Next Drag Superstar! If you have never seen RuPaul's Drag Race first, get with the times already! Then go to http://www.rupaulsdragrace.com/ where you can watch every episode of every season and GAG ON THE ELEZANGA!!!!

Season 3 of RuPaul's Drag Race was very impressive. The cast was all around much stronger than Season 2. RuPaul herself continues to not only shine in the multiple roles of host, mentor and judge, but she manages to rip through the very fabric of reality television! In this season she brought back a queen sent home before her time in Season 2, one week, she made the executive decision to not make any contestant "Sashay Away" and even allowed herself to be overruled by the other judges and bring back an eliminated queen! Before I go on, I must say that in 3 seasons of this show, and in the 33 queens who have graced the catwalk, I have yet to see one who matches the charisma, uniqueness, nerve and talent of RuPaul herself. She is regal, glamorous, intelligent, poised, funny and even a little trashy, bottom line she has it all. That being said, let's look at the fierceness that is RuPauls Drag Race Season 3!


Top Row (left to right): Mimi Imfurst, Carmen Carerra, Stacy Layne Matthews, India Ferrah, Alexis Mateo, Delta Work, Mariah, Manila Luzon, Yara Sofia, Venus D-Lite
Bottom Row (Right to left): Raja, Phoenix
Not pictured: Shangela Laquifa Wadley


WARNING: SPOILERS BELOW!


Venus D-Lite: The first queen eliminated is often a tough one to say goodbye to because it relies solely on their ability to make their own clothes. A contestant could have charisma, uniqueness, nerve and talent coming out of their ears but if they can't sew, they won't last long. I would have liked to have seen more of Venus, she talked about how she has committed her life to performing, and I believe if she had gotten past the first lap she would have been more of a contender. However, she is mostly known as a Madonna impersonator (and a good one, she looks just like her), and in the search for America's Next Drag Superstar, I would be looking for someone with a whole new personality all their own.

Phoenix: Phoenix was eliminated in the Sci-Fi challenge in which the Queens portrayed various characters in a trailer from a Sci-Fi movie. From the two episodes she was on, it was clear that Phoenix has a fashion sense that stands out, eccentric and fun. However, anytime she opened her mouth to talk, she sounded like some cracked out dude being arrested on cops (and looked like one when she was out of makeup). The most consistent problem I find with contestants on the show is that as Drag Queens, their method of artistic expression and performing is only lip syncing. When it comes to actually speaking and being poised on camera, it is unfamiliar to them and instead of confidence and glamor shining through, we only see awkwardness. Phoenix's performance in the Sci-Fi trailer was so bad it felt like a lost clip from an Ed Wood film. This was Phoenix's downfall, and she did not rise from the ashes.

Mimi Imfurst: Mimi came into the competition carrying the torch of camp. Though today it seems to be phasing out of the culture, camp has a strong place in drag history. And considering this, it's surprising they haven't had more like Mimi. The closest were the 2nd season's Pandora Boxx or season 1's Tammie Brown. But Mimi brought an element of chaos, storming through the show like a hurricane. Despite consistent breakdowns during the episodes, she was in the top in both the first and second episode. Then in episode three, for the workout video challenge, the winds of Hurricane Mimi reached a point where you didn't want to take the boards off the windows for fear of getting glass in your eye, but you couldn't help but peek through the cracks and watch Mimi ripping through the neighborhood. I'm glad Mimi was on the show, she had a glaringly strong personality (even if it did include fits of crying EVERY EPISODE), I'm glad they got the one complete train wreck of a sketch in the workout video challenge, but it was definitely her time. This was wholly evident during the Lip Synch for Your Life against India Ferrah when she literally hoisted the competition on her shoulders. As Manila said "You can't go lifting up Drag Queens!" Personally, I would have made her pick out a switch, but RuPaul, ever the diplomatic classy broad that she is simply told her "Drag is NOT a contact sport" before making her "Sashay Away".

India Ferrah: Oh India... She and Phoenix suffered from the same syndrome of having very eccentric looks, but not delivering enough in the personality department. Awkward and bumbling, and always wearing her triple D latex breast plate (a somewhat new trend in drag, which to me just look tacky and fake), I was not sad to see India go. I'm sure she's fun to see lip sync, but in the race for America's Next Drag Superstar, she was just cannon fodder.

Mariah: Looks, style, poise and a "fish-like" (drag speak for "looks like a real woman") face that could go up against any supermodel, Mariah seemed like the Glamazon to beat. She always kept her cool, even when being "read" by the other queens, her confidence (which was well deserved) shined through and she stayed collected and calm as though she had just walked out of the best massage of her life. However, her laps around the track came to a screeching halt when the contestants had to play the "Snatch Game" in which they showcase their best celebrity impersonations. Mariah's interpretation of Joan Crawford (a classic drag favorite) must have made drag queens from coast to coast cringe. I liked Mariah, but I've seen better Joan Crawfords on Halloween. I mean, who goes into a comedy sketch as Joan Crawford and doesn't once come close to having a screaming fit of rage?! Unfortunately her cool and collected persona played against her. I was sad to see her go, but she skipped a beat and paid dearly for it.

Stacy Layne Matthews: From the beginning I didn't quite understand why they fished her out of Back Swamp, North Carolina. She was sweet, but like most sweet things, they didn't deliver the nutrients needed to really fuel my Drag fix. None of her looks were up to the caliber of the other queens. She did turn out a fun personality from time to time, she was good as the Maya Angelou inspired Sci-Fi Drag Queen, and was really uncanny as Monique's chain smoking character from the film "Precious" in the Snatch Game. But she wasn't consistent enough to take her into the final laps. Again, she may be great to see lip sync, but in the end she was just cannon fodder.

Delta Work: At first Delta seemed like a real competitor. But as the episodes went on, she began to bug in all the wrong ways. She's a heavy girl, which has a very prominent place in drag history with figures like Divine. But if you're going to be a big queen, you gotta own it like royalty. And Delta simply did not own it. Because she was friends with another contestant Raja, and was always willing to put down another queen (which just exposed her already glaring self-confidence issues), she managed to eek her way into the cool kids club of contestants who dubbed themselves the "Heathers" after the 80's high school cult film. Nevertheless, her self-esteem issues were exposed through her ill fitting clothes that always seemed to highlight her enormous belly that hung down below her groin. NOT CUTE... Ever. And whenever she had to perform a speaking role she consistently came across as unsure of herself and stumbling. By the time she Sashayed Away, she had worn out her welcome with me.

Shangela Laquifa Wadley: Shangela came into the competition wrapped in controversy, complete with a bow on top. She had been in Season 2  and was eliminated in the first episode due to a seriously unfortunate dress made out of curtains. RuPaul decided to give her another chance which received mixed reactions from the other new girls. Shangela is newer to drag than any of the contestants, and was often criticized for needing help with her makeup, hair, just about everything. But the one thing she needed absolutely no help in was the one thing many of the other Queens lacked, she had enough confidence, humor and poise on camera to match any television personality. In the newscaster episode she shined as the Celebrity Gossip Girl. While she did often look somewhat "busted" (which kept her in the "booger" status to the "Heathers") she was stronger on camera and more secure in a speaking performance than any of them. You could hand her a show and she would flourish, which to me is the goal of Drag Race. However in the world of Drag, if you don't look good enough, you never will be. I know many people were annoyed by her constant "Halleloo"'s and ridiculous boasts of being "The Nancy Drew of Drag" but I enjoyed watching her. She has a real vibrancy and energy that will carry her far. I'm glad she made it as far as she did, but also glad she didn't make it farther. I also have to thank her for "She said 'Laquifa!' I say 'Whaaaat?!'"

Carmen Carerra: I could just write "Body, butt and body" and it would sum up what I thought of Carmen. In the very first episode she came out wearing a bikini. The judges told her "Don't rely on your body". So what does she do? She continues to prance around mostly naked for all but one, maybe two episodes. It got tired very quick. Yes, she looked like a real woman, but her personality went from non-existent at its worst to "that bland, self-satisfied hot chick who might as well be a take-out meal for the boys of the Jersey Shore" at best. She was eliminated before Shangela, then after Shangela Sashayed away, the judges overruled RuPaul and brought Carmen back... Only to eliminate her again in the same episode. I was glad they brought her back only because it meant we got one extra episode of Drag fabulousness, but that was the only reason why. During her final lip sync she decided that despite the fact that we have seen her in a bikini almost every episode, we had not yet seen enough. So she took off her panties... All I have to say is the last thing I ever want to see is a drag queen's cooter. I've never said this before, but thank God for fuzzy boxes... NO, not that kind, the censoring kind! Get your mind out of the gutter!

Yara Sofia: I will forever love Yara. She came into the competition as the dark horse, she's Puerto Rican and her English isn't great. She flew under the radar for the first couple of episodes, and then suddenly with her first "Echa Palante" in the work out video challenge, she exploded like a volcano, scorching the competition and bringing a level of excitement every episode. Her fashion is very avant-garde, which I love, though I could do without the dead-looking blue contacts. Her personality is sweet, fun, exciting and engaging. She has the energy of a litter of Chihuahua puppies on speed, and if she could just learn to focus it a little better, she would be flawless... Well, that and she'd have to get rid of the blond, crunchy looking Shakira wig. From the exercise video to her Spanish variety show inspired stand up routine as a midget trying to find a man in America, every time Yara was given an opportunity to show her personality she excited the audience and made us laugh til we cry. Up until her final lap in the race, I had Yara pegged as one of the top three. And she would have made it had she not had a breakdown during the fatal second to last Lip Sync for your Life of the season. She's been criticized for throwing it all away, stripping and falling to her knees during the lip sync. But I understand, under the pressure to validate yourself during her artistic expression, Yara simply was tired of proving her worth to the judges.

Finally, the top three:
First I will say that in my opinion this was the strongest top three ever. That is to say, Season 1's top two Nina Flowers and Bebe Zahara Benet will always and forever be my top two. They both were so unique and had such valuable messages. But their third, Rebecca Glasscock was miles behind the two of them. I found Season 2 to be a disappointment all around. The winner Tyra Sanchez is not somebody I would ever rally around as a pop icon. She looks great, but her personality comes across as dull and as much as I hate to say it, unintelligent. Also, I cannot bring myself to respect someone who won't even tell his son what he does. If you tell your four year old son that you dad dresses up as a girl he won't think "Other dads don't do that, you're weird" he will think "Well that's what my dad does, it's weird that yours doesn't". My point is, if you lay it all out on the table for your kid then there's no secret that has to be disclosed, as the Great Sammi of Jersey Shore says, "It just is what it is". I am in no position to tell someone how to be a parent, and I fully understand that doing what they do, things get complicated with family but if I'm going to look up to a gay icon, it cannot be somebody who hides something they value so highly in themselves. Lying about what he does makes him seem ashamed and propagates the notion that drag is something that needs to be hidden. Isn't the whole point of this show to celebrate something that has never before been seen as a valid art form? The two runner ups, Jujubee and Raven were both fierce queens, but none of the three had it all. This season, by the time Carmen got re-eliminated, any of the top four could have won and I wouldn't be upset.  I would have found it undeserved if Alexis won, but even she has a strong fun personality that I appreciate.

Alexis Mateo: The second runner up, and the weakest link of the top three, Alexis is a pageant queen. Which is shorthand for over the top and gaudy fashion sense. However, what kept her in the competition is her infectious energy and personality. She comes across as sweet and fun, someone you want to be around. But uuuugh.... most of her looks define tacky.

Manila Luzon: Never before in Drag Race history could you watch the very first episode and know which two queens will be lip syncing for the title of America's Next Drag Superstar. But from the very beginning Manila stood out as having it all, she is glamorous, quite "fish-like", funny and is very engaging on camera. To me Manila was the one who you could hand a talk show to and she would really flourish, which would have made her my first choice (not that I don't LOVE Raja, and everything she brings to the title). She is confident and funny and always fun to watch perform, even when she was playing a speech-less monkey. Her fashion sense is humorous in nature (my favorite was a 1920's inspired flapper dress made out of dollar bills!), but she never once sacrificed her beauty for the sake of humor, rather she consistently blended the two into a delightful cocktail of classic and new Drag!


Raja: Our new Drag Superstar, Raja brings something very new and fresh to the popular consciousness. Every previous season came down to one queen who was more goth, artsy and weird, and one who was more glamorous and traditional. And in the past RuPaul has always picked the glamorous over the goth. Which I understand, it certainly shows that they're looking for something specific. But this year broke new ground giving it to a performer who showcases anything from an aboriginal tribal look to a new take on classic French royalty. Unlike previous winner Tyra Sanchez, Raja is smart and wants to push boundaries. From the first episode, you knew it would come down to Manila and Raja, but there was a certain point in the competition (I think it was around the Snatch Game in which Raja's over the top impersonation of an uptight Tyra Banks was accentuated with tears of blood) when it was obvious to me that Raja was going to win. Raja is one FIERCE queen who not only owns the runway, but owns property extending into the damn parking lot! She is intelligent and avant-garde showing a very new style of drag that is more appropriately called "Genderfuck".  She is less about traditional female illusion and more about the art of performing in an androgynous persona. She has such integrity with what she does, and when you match that with her cutting edge style of drag she elevates herself into the realm of post-modern performance art.

And that rounds out our girls from Season 3! It's been quite a race, they are all fabulous, fierce and WHAT? Sickening! The only bad thing about having a new Drag Superstar is having to wait a whole year before the next season!!!

April 25, 2011

A critical anlysis of "Whip my hair"

Maybe you didn't know this, but rich people can produce, promote and popularize almost anything they please. It's true! Willow Smith, daughter of film stars Will Smith and Jada Pinkett, had the advantage of her father being familiar with both the music industry and money. Thus, Willow Smith's "Whip my Hair" was born. I am not making a statement about Willow Smith's talent, merely that this would not be possible were it not for family with money. I admit, I keep this song on my iPod shuffle and wish it randomly came on more than it does. Below is an anlysis of the song, lyrics provided in italics.




I whip my hair back and forth
I value my self expression.
I whip my hair back and forth (just whip it)
I will exercise my individuality regardless of what others think.
I whip my hair back and forth
My personal freedom is worth celebration
I whip my hair back and forth (whip it real good)
Careful or my creativity may lash out at you
I whip my hair back and forth
My fashion is colorful in nature, which represents my beliefs in self-expression
I whip my hair back and forth
Creativity can be exercised regardless of the personal space of others.
I whip my hair back and forth
Attempts to stifle my creativity will not be tolerated
I whip my hair back and forth
My self-expression will not be curbed by your reservations.

Hop up out the bed turn my swag on

From the moment I awake, my individuality is brimming
Aint no sense listining to them haters cuz we whip em off

I will not allow you to contain my self-expression
And we aint doing nothing wrong

Personal freedom is not a crime
So dont tell me nothing, i'm just tryna have fun

I will not listen to your stifling comments while I express myself
So keep the party jumping

Let us all express ourselves without stopping

So whats up (yea)

Do we have a problem?
And i'll be doing what to do

I will continue this behavior
We turn our back

I will not expose my senses to those critical of my expression
And we walk over and just shake them off
You will not even know when I reject your negativity
Shake them off, shake them off,shake them off

Do not give in to society trying to hold you down.

Don't let haters keep me off my grind

You will not restrain my individuality
Keep my head up and I know i'll be fine

I relish my own self-validation
Keep fighting until I (yea)

I will not allow myself to be stifled…
Am down and I feel like giving up

Until I don’t feel like it anymore.


I whip my hair back and forth
I value my expression above all else
I whip my hair back and forth (just whip it)
Your personal space may be victim to my creativity
I whip my hair back and forth
My hair is a relentless expression of my body and therefore of my individuality
I whip my hair back and forth (whip it real good)
My hair is a symbol for conformity and when I whip it, I reject your conformity
I whip my hair back and forth
Society cannot contain my creativity.
I whip my hair back and forth (just whip it)
I have broken free of society’s expectations of me
I whip my hair back and forth
You may continue to live your picture perfect existence but I do not
I whip my hair back and forth (whip it real good)
This here snakeskin jacket is a symbol of my individuality and belief in personal freedom
I whip my hair back and forth
Your expectations for conformity will not be met
I whip my hair back and forth (just whip it)
My will is strong, can you take it?
I whip my hair back and forth
Do not expect me to be anything less than myself
I whip my hair back and forth (whip it real good)
My hair resembles the hand of Jackson Pollack both in its motion and purpose

I'm going get more shine than a little bit

I will flourish in my realm of self-expression
Soon as I hit the stage applause iam hearing it

And you will love my self-expression
Weather its black stars black cars iam feeling it

My expression will create a class free world
But no other do it like I do

My individuality only pertains to me
I, I gets it in hmmm yea I go hard

I am relentlessly expressing myself.
When they see me pull up I whip it real hard

As others realize my creativity, I express myself even harder
I whip it real hard, real hard, I whip it real hard

And will continue to express myself harder and harder

Don't let haters keep me off my grind

Society’s attempts to dampen my expression are futile
Keep my head up and I know i'll be fine

My individuality will continue to rest on my shoulders
Keep fighting until I (yea)

I will continue to express myself
Am down and I feel like giving up

Unless I no longer feel like it.


I whip my hair back and forth

My hair is a doorway, and the act of whipping it, the key
I whip my hair back and forth (just whip it)
My aesthetic presentation is a representation of my non-conformist beliefs
I whip my hair back and forth
Individuality is the essence of my soul
I whip my hair back and forth (whip it real good)

If you expect me to be outrageous, I will be extra outrageous
I whip my hair back and forth
Creativity is that which fuels me


I whip my hair back and forth (just whip it)
Many have tried to tie me down, but like Michael Jackson in the “Leave me alone” music vide, you are tiny dogs and I am a superstar.
I whip my hair back and forth
All around the world people whip their hair
I whip my hair back and forth (whip it real good)
I will destroy your establishment

I whip my hair back and forth
Hide your kids, hide your wife
I whip my hair back and forth (just whip it)
I hit you like a hurricane, best board up your windows
I whip my hair back and forth
There is no such thing as a uniform group
I whip my hair back and forth (whip it real good)
The very laws of physics bow to the power of my expression

I whip my hair back and forth
A new paradigm of self expression is underway
I whip my hair back and forth (ok, ok just whip my hair)
Like a magician I create whimsy from nothing
I whip my hair back and forth
My hair is a force of nature
I whip my hair back and forth (whip it real good)
Even your conformist hair can be whipped into an expression of your deepest soul
I whip my hair back and forth
We must change our perspectives on our part in society’s whole
I whip my hair back and forth (ok, ok just whip my hair)
I preach to those whose creativity overtakes them
I whip my hair back and forth
The unexpected is my temple
I whip my hair back and forth (whip it real good)
Like the ocean, it may be low tide or high tide but my individuality will be ever present
I whip my hair back and forth
There is a void that is only filled by erratic behavior
I whip my hair back and forth (ok, ok just whip my hair)
I will not whip once, but will forever whip
I whip my hair back and forth
It is never to late to reject the throes of conformity
I whip my hair back and forth
Aesthetic chaos can create conceptual beauty

Ladies if you feel me

Are you a female who believes in self-expression?
Do it do it whip your hair

Then go ahead and express yourself
Dont' matter if its long, short

No matter what manner you wish your expression to take
Do it do it whip your hair

Do it and express yourself fiercely.

Ladies if you feel me

Do you believe in individuality?
Come on do it do it whip your hair

Express yourself how you feel
Dont' matter if its long, short

Express yourself however you feel
Do it do it whip your hair (your hair, your hair)

Do it! Express yourself!


I whip my hair back and forth
This conformist regime will not last
I whip my hair back and forth (just whip my hair)
Charm and wit are overrated, place faith in oneself
I whip my hair back and forth
Paradigms of the meaning of individuality are clashing and we must stake our claim as the rulers of ourselves
I whip my hair back and forth (whip it real good)
Even when I am not whipping my hair, my hair is whipping
I whip my hair back and forth
Creativity is the source of my goodness
I whip my hair back and forth (just whip my hair)
My self-expression has no time for your personal space
I whip my hair back and forth
Give me a head with hair, long beautiful hair
I whip my hair back and forth (whip it real good)
My expression rages like a forest fire spreading through conformist society
I whip my hair back and forth
Others may not tell you how to express yourself, so here is a recommendation
I whip my hair back and forth (just whip my hair)
Movement and change are forces of nature I wield like a sword
I whip my hair back and forth
There is no light at the end of the tunnel, we must instead dig ourselves out
I whip my hair back and forth (whip it real good)
Though society expects my hair to stay rigidly still, I will move it through space as I see fit

I whip my hair back and forth

Do not believe the lie, we are the conductors of our expression
I whip my hair back and forth
I have discovered the law of creativity
I whip my hair back and forth
Before tapping into your self-expression, you must shed your tainted skin
I whip my hair back and forth
Your self doubt is a rejection of your ability to flourish
I whip my hair back and forth
Allow me to share my individuality with you
I whip my hair back and forth (just whip it)
There is no self-expression without the rejection of traditional expectations
I whip my hair back and forth
Society is designed to limit the abilities of you creativity
I whip my hair back and forth (whip it real good)
Nothing is as stifling as the rigidness of daily life
I whip my hair back and forth
The universe is spiraling into self-destruction unless you break free of its physical laws
I whip my hair back and forth (just whip it)
Upon accepting aesthetic freedom, you will rejoice
I whip my hair back and forth
My individuality is insured
I whip my hair back and forth (whip it real good)
Tapping into your individuality may give you whiplash


April 19, 2011

The Dark Crystal vs. Labrynth

vs.

Like most people born in the 1980's, I am saddened by today's lack of puppets in films. Computer animation has, allegedly, rendered puppeteering obsolete, but when you look back at the work done in films as recent as Jurassic Park, you can see the potential of puppets. But sometime in 90's puppets were forgotten and CGI replaced it as a cheaper, less labor intensive method of creating imaginary creatures. There's a tactile realness (and I don't mean felt) to puppets that cannot be reproduced in CGI, and in today's films we only get to see that in rare experiences like Where the Wild Things Are. Growing up in Los Angeles, my father was a puppeteer for many years working on everything from the McDonald's Chicken McNuggetts (I remember as a child being on set for a commercial and being confused as to how Grimace was actually a little person) to Johnny 5 in Short Circuit (apparently I was on set for this too, and Ally Sheedy held me as a baby!) to HBO's the Crypt Keeper. So puppets always held a special place for me, and it's sad that it's not utilized anymore. Imagine how fantastic today's puppets would be had the technology continued to progress?!

I was raised on fantasy films, I saw The Princess Bride more times than I can count, and the TV animated film The Flight of Dragons was always my favorite to watch as my mom cut my hair. And The Dark Crystal was always one of my favorites. It was scary, fantastic, mystical, sad, funny and sweet, all with a completely fabricated world (get it, FABRIC-ated?!?) But I never knew about Labrynth until I was in my teens and friends spoke to me of a musical adventure that integrated the fantastic puppet work of The Dark Crystal with live performers David Bowie and Jennifer Connelly (who I'd loved since she sang a super sultry cover of "Sway" in Dark City).  It seems like most people my age swear by Labrynth as though Bowie is a siren of puppetland, and The Dark Crystal often gets swept under the rug. When I see Labrynth I see a half-cocked Dark Crystal, that doesn't sucessfully deliver anything that The Dark Crystal feeds the audience in stride.

The biggest difference is that Labrynth has live actors and musical numbers, both of which come across as somewhat flat. I love both Connelly and Bowie, but Connelly is best when she's playing mororse, and doesn't quite have the snotty yet curious "Alice in Wonderland" attitude down. And while Bowie is clearly one of the undisputed musical masters of the 20th Century, the songs fall flat throwing around general references to magic to emphasize that he's the Goblin King. And of course, lots of "Baby"'s because what's a pop song without "Baby", BUT here we get the added useless double meaning because he's singing to a baby. The songs barely enhance the plot and come across almost as just time fillers. All in all  they almost sound like they would work better in a middle school musical version of "The Crucible-Light". To me the whole musical element is a valiant effort to create a new spectacle, but just doesn't match the masterful work that goes into the constructed sets and creatures. And as for Bowie's acting, he passes as being the cool Goblin King Jareth, and looks great in those male-modern dancer pants minus the codpiece. But he's more suited as the aloof alien in The Man Who Fell to Earth than a mystical villain. The puppets are, of course, very well made, Ludo is a loveable Cowardly Lion (always my favorite friend of Dorothy's) for the 80's and who could forget the Helping Hands. The story is a fairly standard fantasy nothing incredibly challenging or innovative for the viewer, but combined with the elaborate sets and well made puppets, it is worth seeing if you haven't already. However on a whole the film comes across as unfocused, and ends on a general note of "Be careful what you wish for."

The Dark Crystal on the other hand shines as a unique piece of filmmaking and puppetwork, creating a film that hasn't ever been matched on its own terms. This film takes you through a full range of emotions. The Skeksis, who look like  undead prehistoric terror-birds are truly the stuff of nightmares for kids. And even as an adult, I still want to cry as the Mystics peacefully simply fade away when one of their counterparts dies. It goes to much darker places than Labrynth, turning cute felt creatures into soul-less zombies, and linking the yogi-like Mystics to the evil Skeksis. This connection between the Mystics and Skeksis is a metaphor that, while complex, is fundamentally simple and resonates from childhood into adulthood. This is a uniqely crafted fantasy story that creates an allegory of good and evil being intrinsically intertwined through the power of the crystal, and the ultimate goal is the unification and therefore destruction of not only supreme evil (Skeksis) but also the representation of good (Mystics). Very complex ideology for a kids movie. All of this is surrounded by the beautifully crafted and tactile world and creatures that inhabit Labynth but with a heartbreaking and unique story molded around it. The only part of the film that drags is the main character Jen's repeated repeated musings about his inadquacy and hesitations in completing his destined mission. Which are pretty wellfounded, but lucky for him he meet's Kira, who can fly (apparenly female Gelflings are naturally more awesome than males) and talk to animals. Kira the fiercest girl power puppet this side of Miss Piggy. As a child, and today, I find the real power of the film lies in the allegory of the Skeksis and the Mystics. The Skeksis embody fear, their own fear of each other's lust for power, and the audiences fear of them. The Mystics embody peace, each one an accomplished scholar and Buddha-like zen-master. While they are different in nature, their destinies are the same, when a Skeksi dies due to his own corruption, a Mystic fades away into the ether. It is this duality and recognition of good and evil as springing from the same source makes  The Dark Crystal a unique and abstract study of the balance we can all hope to achieve.

April 18, 2011

PJ Harvey Lets me Shake.

On Thursday, April 14th, PJ Harvey played a show here in San Francisco at the Warfield theater. I had never been to the Warfield, and I had only seen Harvey once before after Uh-Huh Her was released, at a free show in Amoeba in Hollywood. Aside from the obviously drastic change in scenery the show was a completely different experience. Harvey had managed to morph herself and her performance from the punk inspired queen of alternative rock into a kind of ethereal harrowing ghost of a neo-jazz vocalist.

The space is so large it's hard to imagine the space being filled with anything other than a full orchestra or a loud rock band, but Harvey managed to inch herself into every corner of the theater with just herself and three other musicians (including frequent collaborators, Mick Harvey and John Parrish) and her new collection of beautifully understated, purposeful and indefinable songs. Her new album "Let England Shake" is neither akin to her previous piano heavy release of the hauntingly crooning "White Chalk", nor is it very comparable to the old screeching guitar rock she broke into the music scene with nearly twenty years ago. "Let England Shake" is somewhere in between, making it feel like hallowed ground to someone like me who treasures uniqueness and exploration in artists. Pulling off such a transformation is no easy task, but she accomplished it in strides.

The stage was bare, but a cluster of instruments off center for the musicians. Harvey herself had her own microphone on stage right where she would stand in her almost puritan-like dress, with a hairstyle that looks like it belonged to the Goth from Whoville, switching between guitar and an autoharp. The stage set with her aside, as well as the dim, purposeful lighting gave the impression of an intimate jazz bar, even though I was forty feet back and thirty feet up in the balcony.  She opened with a few of the unique songs from "Let England Shake". I would try to describe them here, but they are unlike anything I've heard from any other artist. What I found most impressive was how she was able to compliment her new songs with songs that were released almost fifteen years ago, and make it all sound like one cohesive piece. In addition to the full play list of her new album, she sang two songs of "White Chalk", "The Devil" and "Silence", which she deftly hit all the notes to! She also performed classics such as "Down by the Water", "C'mon Billy", "The Sky Lit Up" and "Angeline", all which were slightly tweaked to fit with the new very tight songwriting she exhibits. This ability to make a singular experience covering songwriting from almost her entire career shows that he maintains a connection with her history as an artist, but is always looking for new avenues to navigate.

I could go on forever about how much I love PJ Harvey. I love every single one of her albums, all for very different reasons. What I love most about her though is that she always keeps you guessing what she's going to do next.

Geeks are "in" but can we please not resort to Gleeks?



I have only seen about four episodes of this baffling pop-culture phenomenon "Glee", and each time I inexplicably decide to endure an episode, I think "Maybe it's not as bad as I remember" and each time it's progressively worse. At first I understood the appeal, it's fun seeing two kids walking through the halls of high school and suddenly burst into a duet of "The Boy is Mine", but after the initial excitement of thinking "I used to hear this song on TRL" wears off, you realize it's not even a well staged musical number. Now maybe I've seen the wrong 4 episodes, but in order for the show to get me to sit down with a full episode again, there would either have to be a PJ Harvey tribute episode, or have a character become possessed by a demon that doesn't sing and instead emanates noise music. My distaste for this show has compelled me to make a list of the reasons why.

  • Their gay angle: I guess this show touts itself as breaking new ground in the realm of tolerance and social acceptance, but to me this show is to any progressive gay movement what Paris Hilton is to feminism. Perhaps the simple act of showing a gay character on TV would have been a statement in the 80's but in a post Will & Grace world we are used to seeing gay characters on TV. That being said, an effeminate, stereotypical gay teenager in the glee club is about as progressive as Lance Bass starring in a show about dancers. Now I won't make any personal jabs at Chris Colfer, Glee's resident homosexual, as he very well may be a perfectly nice young man, however his acting is in the public eye and therefore up for debate. This is one of those shows in which you can tell that the actors are basically playing themselves, so I ask this; Does Chris Colfer always have a face like he just smelled poop, or is that just his character, Kurt? But I digress, as acting is further on down the list. One of the episodes I watched was the Lady Gaga tribute episode in which the father of Colfer's character decides to move in with the mother of the glee club's resident jock, Finn. This leads to some discomfort on the jock's part, as Kurt has always had a bit of a crush on Finn (because gay men, of course, cannot contain their sexuality around heterosexual jocks, why else would homophobia exist?).  Finn's discomfort is only fed by Kurt's decision to make the whole thing like some kind of swanky swinger set up. Kurt plays up his "gayness" trying to confer with Finn about decorating themes, and talking about ways to integrate their styles together, while anybody with any ability to read subtext clearly sees Kurt trying to jump this almost-step-brother's bones. This leads Finn to feel even more awkward lashing out at Kurt asking why he can't just be normal. As a gay man, I understand Finn's discomfort and anger at having to be roommates with someone who is subtly trying to pressure him into something he really has no interest in, whether that be sex or a decor theme. Kurt's behavior in this instance isn't integrating but alienating, as he makes it clear he plans to exert some kind of influence on Finn. Finn rejects Kurt at first, but by the end of the episode, he decides to show Kurt acceptance by putting on a red vinyl dress and marching down the school halls in it (see below. Also, how are we to believe he got those things on his face? Does any high school jock even know what spirit gum is?)
I understand they're trying to show acceptance, but I can only imagine how many ignorant straight teenagers saw this and thought "Well, if I have to put on a dress to be friends with a faggot, fuck that! I'll just keep beating them up because if this taught me anything it's that gay men want to convert me." Yes, Finn needs to be open minded about Kurt's lifestyle, but Kurt also needs to be understanding of his new roommate's preferences. Be that sexually or decor-thematically.  Clearly neither me nor my boyfriend are homophobic, but seeing this episode made me completely infuriated because Kurt WAS being totally weird about the situation and Finn DID have a right to be uncomfortable moving in with a gay classmate who isn't shy about trying to get him in the sack. Sure he shouldn't yell "Faggot" at him, but the situation is more complex than "Kurt is right, and you need to get over your homophobia." Someone needs to explain to Kurt that self expression is great, and important, but you need to respect the needs of others at the same time. I can't help but compare Kurt to Marshall on The United States of Tara. Another gay teen on TV who is intelligent, cultured, and sees the gay clique at his school as shallow and single minded. Marshall thinks for himself, and allows himself to be ruled by his intelligence and not his sexuality. Sure, he makes mistakes as he explores his sexuality, but ultimately he doesn't let it define him, and is unexpected as a gay teen on TV. All I can think is that if Kurt is the role model gay teenagers are looking up to, I feel sad. Not that when I was a teenager it was any better, Queer as Folk and Will and Grace both did little for breaking down gay stereotypes (which we can cover in a later blog post), but I expected that by 2010 there would be more positive, complex, unexpected and groundbreaking gay characters on TV. Good examples of this would be David on Six Feet Under or even Larry on Buffy the Vampire Slayer, whose homosexuality was only featured in two episodes, but HE was a jock AND gay. How scandalous!
  • Song choices: They claim that they are educating young kids in music, so if you want to hear the most overplayed songs of the last 30 years made into elevator music versions of their original selves, then go ahead and get the soundtrack. Or get volume 2. Or volume 3. I want to hear more obscure music on here, how about Kate Bush? Or Can (now wouldn't THAT be interesting)? Not that I'd want BETTER music to be butchered, I'm just saying their choices don't go far beyond the Top 40 list.
  • Censorship: Among the episodes I watched was the Rocky Horror tribute episode. I don't know what I expected, but having recently re-watched the original film for the first time in years, I remembered how much fun it was and thought I'd give it a chance. We all know The Rocky Horror Show stars a transvestite, and even though John Stamos was willing to do the part (there was even a recording of a demo of  him singing one of Frank'n'Furter's songs that leaked onto the Internet), they gave the role to a female. They explain this away by giving her a throw away speech about how their teacher always tells them they can do whatever they set their mind to, and that she just KNOWS she's got the goods for the role... Though clearly she doesn't have the right "goods". I have to admit, it was quite masterful the way they manage to avoid having a real man in drag AND simultaneously make it a moment of triumph for one of their characters. Bravo censor-friendly writers. Bravo. And while said female is singing "Sweet Transvestite", they change the lyrics from "I'm just a sweet transvestite from transsexual Transylvania" to "I'm just a sweet transvestite from sensational Transylvania." I do not understand what about the word "transsexual" is naughty while singing "transvestite" and an entire song about "heavy petting" entitled "Touch Me" complete with male students doing push ups above their reclined teacher is okay.
  • Acting: As I said above, and like many high school dramas, both in TV and movies, this is one of those shows in which you can take for granted that the teenagers are mostly playing themselves. While his acting abilities (and his abs) made him the perfect brain-dead hunk in the "Rocky Horror Glee Show" However, Matthew Morrison's acting as the teacher comes across as a fish out of water gasping for air when he wears his one "I'm thinking/worried/sad/upset/angry" face, not to be confused with his other charming and smiling "Let's all sing a song about it" face.  And then there's whatever is going on in the image below.
Crying is 95% based on how tight you can pull your face in. To quote the great Marty of Showgirls "[He]'s got it!"

And yes, we all love Jane Lynch, and she delivers what she can, but it's barely more than a few minutes an episode (of the ones that I've seen) and the character is so inexplicably spiteful that you can't garnish the balance between understanding and hating a good antagonist. And even though I'm sure they've had episodes where they give you some trite, obvious storyline to gain sympathy for her, like her mother was always really mean or she never learned how to properly tie a girdle or something equally ridiculous, I'd take Lynch on Party Down or in a Christopher Guest film over Sue Sylvester any day.
  • Writing: Trite, boring, worn territory, basically "Saved by the Bell" remade with songs, take your pick. So far as I've seen there is not a shred of originally in any of the various story lines they throw at you. You'd think with a melting pot of different cliques in the glee club they could tackle some more innovative story lines than "Popular kids are bullies" or "This isn't a phase, this is who I am!"