Tag Archives: satire

Fucking Carrie Brownstein

 

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Source: Frederick M. Brown/Getty Images North America)

Fucking Carrie Brownstein! She’s smart, cute, a riot grrl, in a super awesome band that everyone loves, even critics; she has a super funny, edgy TV show, and now she’s publishing a memoir. Hunger Makes Me a Modern Girl (Riverhead Books) is due out October 27th, just two days before my forty-sixth birthday. My memoir, The Spitboy Rule: Tales of a Xicana in a Female Punk Band (PM Press) isn’t due out until Spring 2016. Just what, I ask, will Brownstein’s memoir be about? What has she done?

There should be some kind of law that you can’t write a memoir until you’re forty-five, until you’ve lived at least half your life like I have. I was already forty-five when I got word my memoir would be published.

When I got the news from PM Press, I didn’t run straight to my family to tell them the good news, hug them, or cry. No, I thought this instead: Okay, now, I just have to not die before it’s in print.

So imagine my shock last night, squinting at a Riverhead Books Instagram post on my phone announcing Brownstein’s book, my dismay at always having to be in the shadow of those sexpot riot grrls.

I should have known this would happen when I read her blurb on the back of Kim Gordon’s book A Girl in a Band, which credits her as —Carrie Brownstein, writer, actor, musician. I know she writes. However, to declare her a writer in that way, on that book is a bit like product placement.

Alice Bag, the most famous and legendary Chicana punk, Viv Albertine, of the Slits, and Kim Gordon, Sonic Youth, all did the decent thing and waited until they were in their fifties to publish their memoirs. The four of us will have to think very carefully about whether we’ll let the youthful, fancy pants Brownstein into our edgy female writer/musician’s club.

There is consolation in the fact that while Brownstein’s book will be published before mine, people will read my book too, because Alice Bag, Viv Albertine, Kim Gordon, and now, Carrie Brownstein have laid the groundwork, and because everyone wants to be a rock star, even if it’s only as long as it takes to read three hundred pages. It just isn’t fair always having to live in the shadow of those damn riot grrrls, who are and always have been younger and more pop-culture than I am.

In conclusion, I must ask the obvious question. Who are they going to let write a memoir next? It seems that there should be some sort of cap, some sort of quota. We can’t just let any literate woman who can play an instrument write a memoir. What would people think? What kind of message would that send? Americans might actually start to really believe at younger and younger ages that women can and should be heard, that women should have a voice, be musicians, writers, artists, great thinkers and creators worthy of solid place in history.

To Dolezal

JEROME A. POLLOS/Press Rachel Dolezal, director of education & curator of the Human Rights Education Institute, discusses the offering of Human Rights Education Institute flags Monday in response to flags flown by local hate groups.

JEROME A. POLLOS/Press

In the summer of 2015, an event almost too shocking to believe, yet, somehow totally believable in America, created widespread use of a word, sure to make it in the dictionary, faster than whites seeking representation for claims they were victims of race-based, discriminatory hiring practices.

The word dolezal, Czech and Slovak in origin, meaning lazy — as of late, has come to mean quite the opposite. By popular usage the word is used to describe someone who works rather hard, going to extensive lengths to pose as someone they are not.

Practical examples include claiming to be descended from a royal line, to be Native American, or having a Native American grandmother or great grandmother, probably Cherokee, or claiming to be Mexican for the purposes of writing a best selling memoir about growing up in LA, and not common until quite recently, claiming to be African American. To dolezal, or to dozal for short, describes the act of expending a great deal of energy, time, and even money to coopt and perform another ethnic identity while concealing one’s own. This phenomenon seems to afflict those vulnerable to insecurities about their actual ethnicities, or those who believe that white American culture lacks a specific cultural identity, one with full rights and privileges so omnipresent as to be invisible.

In the recent past, one can find numerous examples of people of color, passing or attempting to pass as white to avoid racial discrimination, or to gain access to the aforementioned rights and privileges, but we can all agree that this behavior, while unfortunate, is excusable, while choosing to be white when its convenient, and to dolezal for a prestigious position that one could have earned as an ally is not.

dolezal

verb

The act of going to extensive lengths to pose as another ethnic identity while concealing one’s own

dolezal

adjective

He married a woman from India, but he’s no dolezal.

zalling (informal)

Verb

She married a guy from Mexico, and she is zalling like she’s Mexican.

Synonyms: wannabe, poser, fake, opportunist

Antonyms: sincere, true, truthful, ally

On Why Dystopian Literature Is Totally Punk Rock

MG.NL.Suzy.SeanIf there were ever a literary genre designed just for punk rockers, it would be dystopian literature. Dystopian literature is notoriously dark; for sure, it wears all black. In the 1990’s when I was playing drums in punk bands, I was naturally attracted to and read books like 1984 and the Handmaid’s Tale for the first time, two books that would provide me with important frames of reference and ideologies about dark realities of government and human nature, things like mind control, pervasive surveillance, systematic oppression of women, and propagandistic uses of war – books that I now teach to college students.  

Like punk rock, dystopian literature is urban, and gritty, and gray scale, and like many punk rock bands, dystopian literature makes important critiques of society. Dystopian literature sneers satirically at social ills, inequality, hierarchical divisions, abusive power, and glib politicians – punk rock often does the same. In fact, many punk bands have referenced dystopian novels in their songs. The Dead Kennedy’s reference 1984 in their song “California Uber Alles,” an anti-Governor Jerry Brown song, a song that rails against yuppies taking over the state and making kids meditate in school:

                        Close your eyes, can’t happen hear

                        Big Bro on a white horse is near

                        The hippies won’t come back you say

                         Mellow out or you will pay

                        California uber alles    4x

                        Now it’s 1984

                        Knock-knock on your front door

                        It’s the suede-denim secret police

                        They have come for your uncool niece.

The majority of the Dead Kennedy’s lyrics were satirical, and satire is a device/genre that makes extra close examination of meaning especially important, for unlike what many of my students often think, author Jonathan Swift isn’t being literal when he says we should turn to cannibalism and eat babies to help the poor. Satire aside, a friend of mine once articulated something that I wondered about the “California Uber Alles” even at the age of fifteen when I was blasting this song in my room and pumping a fist in the air, or when I saw the DK’s at the Mabuhay Gardens on Broadway in San Francisco: why pick on a liberal democrat? Why pick on Jerry Brown? Looking again at these lyrics now, I realize why. First off, George Orwell, author of 1984 would say all people in power, all politicians should be questioned and scrutinized, and secondly, if you look closely at what Jello Biafra, singer and lyricist of the Dead Kennedys was railing against, may seem like yuppies, but it’s also gentrification in its references to jogging, organic food, and “zen fascists.” In essence, Biafra’s fears of a “cool, hip,” read expensive, California have come true, especially in the hyper-gentrified San Francisco where the Dead Kennedy’s were based.

Growing up, I felt much like a dystopian protagonist: trapped in world that denied me my individuality. A spikey-haired, black eye-liner, ruffled Mexican rick-rack skirt, wearing teen, I noticed that many punk kids came from broken homes, or had parents who were addicts, or lived in boring go-no-where suburbs. We were kids who lived with a lot of stress, kids who were prone to depression. Our lives as we were living them didn’t fit. While some tried to make us feel like it was us, like we weren’t right, like we were messed up, like we were the problem, we had enough sense to know that there was a much larger looming problem. Angry punk rock songs and angsty literature were good outlets for these feelings. The Subhumans address some of these feelings in the song “Big Brother.”

            Here we are in the a new age

            Wishing we were dead

            There’s a TV in my front room

            And it’s screwing with my head

            There’s a scanner in the toilet

            Two watch you take a bath

            And there’s a picture of Hiroshima

            To make sure you never laugh

In 1984, the actual 1984, at the age of 14, I saw the band Reagan Youth at the Democratic Convention held that year in San Francisco with my freshly chopped hair, dyed blue black. My friend Nicole Lopez’s mom drove us three hours from our small town to San Francisco just so we could see the bands and take part in the protest. A protest site was designated in the empty lot at Mission and Howard across from the Moscone Center, which back then was simply a large slab of concrete that took up an entire city block. It was there that Reagan Youth, who had named themselves after President Reagan, played with the Dead Kennedys, MDC, and the Dicks. Given the year, 1984, and the draconian policies put in place by the outgoing president whose policies had further marginalized the lives of many, especially youth from low-income families, there was a lot to protest. Sort of unknown on the West Coast, Reagan Youth played early in the day, but they were loved by the crowd right away for their energy and aptness of a band with their name playing on the rock Against Reagan tour. Dave Insurgent with his hippie punk, white-boy dreads stood at the edge of the stage, leaned into the crowd and incited our ire. Frustrated about class hierarchies, Regan Youth wrote the song Brave New World whose lyrics are drawn straight from the book of the same name by Aldous Huxley. Many English punk bands wrote anti-Thatcher songs during the same time period, songs that often also referenced dystopian texts, or the dystopian nature of the Reagan/Thatcher era.

Like dystopian literature much of punk rock is a critique of societal norms or trends, but while dystopian novels are cautionary tales, political punk rock lyrics are a document of concerns and frustrations current for the band, issues that are themes common in dystopian literature, themes such as frustrations about squashed individuality under the pressure of societal norms, corporate control of our lives, and subtle and overt forms of propaganda used by democratic nations who should know better. The straight-edge band, Set It Straight, from Redding, CA, active 2004 -2007, address some of these themes in the song “Self-Deprogramming,” a song written prior to Gary Shtenyngart’s modern dystopia, Super Sad True Love Story, a novel about a nation obsessed with mobile devices, youth, hotness ratings, and group think. The novel and the song have a lot in common.

A sea of suits with empty, mindless eyes

swarming like bees amongst their platinum high rise hives, and every single one?

Yeah, they know their place.

Super latte charged electrons, androids with no face.

But only those who subconsciously want to live their lives spoon fed, subordinated, placid, incarcerated, succumb to the machine.

I’ll tear down their graphs and charts, and take back rational thought.

It’s not too late to start.

I refuse to live my life homogenized.

I refuse to just sit by with half shut eyes.

I will think… think for myself

Like Shytngart’s Super Sad True Love Story, this song rails against modern day forms of brainwashing via slick technology and the allure of power. Its references to lattes and androids are references to familiar dystopian fears regarding loss of individuality and a loss of humanity, a loss of humanity that we sadly participate in by our robotic obsession with digital technology that does our thinking for us.

I have often said that being an English teacher is a natural extension of being in a punk band without quite understanding the connection myself, but it has always felt true. And even though I don’t always only wear black and try to look tough like I did when I was in a punk band, helping students learn to think for themselves, to avoid lazy thinking and to spot fallacious arguments, to question authority is one way the two are connected, but the other way is teaching dystopian literature, a genre, that demands all those things, especially questioning authority, by its very style and content, a genre that warns us about hierarchical thinking, class privilege, and endless wars, a genre that begs us to open our eyes, to be better.