Showing posts with label joan crawford. Show all posts
Showing posts with label joan crawford. Show all posts

Thursday, October 14, 2010

bobby



So I bobbed my hair Saturday night. I could say I “cut” my hair, but because I just hacked off twelve inches without any further shaping or layering, it really was a bobbing. I had many bobbed hair ideals swirling in my head: David Bowie in The Man Who Fell To Earth, Gong Li in To Live (the female Maoist phase), Natalie Portman in Closer, Julia Fordham in the “Porcelain” video, the dancer Slam from Madonna: Truth or Dare, Louise Brooks, Renée Zellweger. So as the hacked braid sat on the table pulsating with its last breaths, I felt no sympathy for it and no remorse.

However, Sunday morning was a different story. I had a major crisis of regret because my hair suddenly felt too old lady: it felt less “bobbed” (as in flappers: Zelda Fitzgerald and Joan Crawford circa 1929), and more like “a bob.” Specifically, it was the hairstyle of my mother. When I want to look like my mother, I want to look like her when she was my age (in her 30s), not necessarily the age she is now (some years over her 30s). As it is with most girls, hair follicles are attached some major emotional circuits that are as yet unchartered by medical science. So near tears, I called my sister to wail: “I HATE MY HAIR! I HAVE MA’S HAIR!!”

But as soon as I started to tell her how depressed I was about this new hairstyle, I started cracking up and laughing. My sister joined in on my laughter, and after snorts and giggle tears, I hung up the phone no longer sad that I have my mother’s hair. Now I think: Jeez, there are worse things than having your mother’s haircut. After all, when Lenny Kravitz first cut off his dreads and looked in the mirror at his (chic) mini afro, did he think: “Do I have my middle-aged mother’s hairdo?” Which he does, by the way: in the years before she passed in 1995, his mother, the actress Roxie Roker (incidentally, I have the same birthday as her) also wore the mini-afro.

But even if he saw his mother’s middle-aged hairstyle in the mirror, I’m sure Kravitz was OK with it, because he’s an avowed Mother’s Child, which I am too. Is this not the ultimate achievement of an androgyne, when your mother possesses your head so that you may present a sleek, unexpectedly male physicality to the world? And while my mother may not be Roxie Roker, Jeung H. Kang is still a pretty chic lady. So why is it that Lenny Kravitz’s wearing the hairdo of his middle-aged mother looks automatically chic to me and my wearing the hairdo of my middle-aged mother makes me feel...like a middle-aged lady?

It has something to do with the inherent chic of blackness. The afro itself is an androgynous style, but it wasn’t always chicly androgynous. On the scalps of women, it was the mark of a certain working class of people too busy for lye and hot irons. It wasn’t until the 1970s, with the Black Power movement’s infection (some would say “dilution”) into mainstream African-American style, that the short afro became chic. The androgyny of the mini afro went chic because first, militant women adopted the hairstyle of their male comrades, and the resultant androgyny allowed “Black is Beautiful” to become “Black is Chic.” Thus, it took a bodily detour—men, Black Panthers, Black Panther women—for the middle-aged black women to rock the short afro as a carapace of femininity rather than the byproduct of work-weary bones. The men gave back to their mothers.

So maybe my bob, my bobby, is a similar opportunity to give back to my mother. As a fetus, I vampirically sucked energy from my mother from within, demanding strawberries in winter and raw white rice chewed through and through. Now, I have a chance to bare my neck so that she may construct a fun femininity for herself through the blood of mine.

The reason for cutting off my hair was, as Miranda Richardson’s IRA soldier declares of her own bobbed hair in the film The Crying Game: “I needed a tougher look.” Of course I miss my twelve inches, and the soft and intimidating aura I put out with hippy-dippy locks. But now I want to be something else. The long hair I had, a result of three years’ growth, had begun to feel slack and crumply. I wanted to be reconnected to my neck and shoulders, and the bobby does that: I’m stretching out my neck more, putting my chin up more, and my general slumpy posture feels slightly more balletic now. Monday morning, when I greased and my hair back and slung on my trusty biker jacket with my APC Petit Standard jeans, I felt feminine in a way I never did when I wore the same outfit with my long hair. I was somewhere between David Bowie and Wanda Jackson: I felt tough...and sweet.

In “How to Conceive (of) a Girl,” Luce Irigray writes: “mother-matter affords man the means to realize his form.” I want to do the reverse! Of course, not that my mother needs my help in realizing her form, but wearing the same hairstyle, I think of as gifting her with the aura of the Thin White Duke-meets-the Queen of Rockabilly. Maybe she can feel like she is turning into a slice of her androgynous son, and maybe it will make her feel unexpectedly tough, sweet, and ageless.

Tuesday, October 14, 2008

bleedingyarnbrickhouseliberal


I read once in a biography of Aretha Franklin that when Aretha first saw what a skillful airbrusher could do to a photograph of her, she decided to say Fuck It (more or less) to dieting. What Aretha so glamorously asserts here the magical belief in a body of discourse: that an airbrusher’s lovingly spraying away her double chin on a two-dimensional version of her body makes Aretha feel as if her in-flesh body is twenty pounds lighter. Feeling like a natural woman, indeed!

Aretha’s photographic “diet” plan is philosophically equivalent to the challenge that Donna J. Haraway poses to us in her “A Cyborg Manifesto”:

“Why should our bodies end at the skin, or include at best other beings encapsulated by skin?”

Being a biological boy who is trying to grow a girl’s skin through words written and spoken (OK, and occasional yards of choice cotton and wool) this idea of the body that reaches past the fascistic embrace of the epidermis is necessary to my survival.

As my loved ones know, I’ve been feeling a bit depressed lately; it is hard to be a single woman searching for boys who like boys. I’m someone who has always been happy in solitude, but solitude turns to loneliness when the skin that hugs me to sleep every day starts feeling too tight, when it becomes chokingly encapsulating. In the last few weeks, I’ve been feeling nervy in my own skin; I’m an 8-minute egg left in the boiling water for 9 minutes. My emotional yolks and whites are going to burst soon!

So this pic above is a portrait of the girl I want to be at this time, mid-October 2008. As Aretha’s airbrushed photo makes her feel thinner, producing this picture with my cavewoman skills with Adobe Photoshop has helped me feel like, not what I am right now, but what I would like to be. It combines two images: me wearing my newly arrived Barack Obama shirt from moveon.org with a pair of vintage Levi’s 701 “Student Fit” jeans, and the politically matchy-matchy blue-and-white banner created this past weekend at RISD by Knitting Nation Phase 5.

First, and as always, the jeans: these I bought for $24 at the American Rag Company in San Francisco this summer. I bought them even though they bear a personal fashion hate: intentional distressing. This kind of thing makes me very angry: taking a perfectly beautiful worn pair of jeans and mutilating it with rasp and sandpaper so it can resemble the season’s artfully distressed Martin Margiela jeans. ARRRGH!! But these particular jeans were so soft and worn, it was like a one-eyed, three legged puppy: I just had to adopt it. But I’d not worn it often because I hate the way the intentional rips on the thighs look. So I’ve actually been thinking about patching it, but with knit swatches—loose stockinette, maybe in intarsia. I like the idea of yarn sputtering out of holes in jeans. It would naturalize the tackily intentional shredding. Suddenly, it would be as if I’d ripped the jeans by falling down, and rather than bleeding flesh-bone-blood, I’d be bleeding mohair-wool blend.

While planning this patching project, kismetically, I saw the Knitting Nation Phase 5 piece. Founded by Liz Collins, a professor of textiles at RISD (and my dear comrade in fashion), Knitting Nation is a collective that produces both product and performance through the powerfully feminine art of knitting. This particular piece was created by the Knitting Nation out of mylar balloon-dotted white and blue textile on the roof of the RISD Museum’s Radeke Building. As it grew, it draped over the roof and down the backside of the building. When I saw it completed on Saturday evening, it moved me in some way that I couldn’t quite identify. I tried to verbalize it into words to Liz: “It reminds me of a cross between a garter belt and a spider web.” As soon as I uttered it, my own words started to weave a new skin around me. What moved me so was that the square red block with windows began to take on hips and legs. It’s not that I thought of the building as some humanoid giantess. Instead, I thought about my own self as a tiny and epidermal-bricked version of a red brick building. I thought about how great it would be the ultimate big girl, the true “Brick House,” as Rick James would say: the Radeke Building, who has a gang of knitters knitting her a garter belt dotted with balloons, better with which to fly away, like Joan Crawford in Our Dancing Daughters.

A building that’s like a teeny flapper? A skinny femme thirtysomething faggot who is like an annex of a museum? Why not? In the 1988 film Bull Durham, Susan Sarandon’s baseball groupie supreme, Annie Savoy, persuades an embarrassed minor-league pitcher to wear her garter belt under his uniform:

They’re garters. They’re gonna hug your waist and snuggle and dangle off your thighs and buns in such a wonderful way it’ll help you see things differently.”

I want to be a kind of girl who is like a building that houses art, artlovers, artmakers. I don't know what that means in flesh, but I'll find out...or learn. I want to see my own tight-skinned life in a different, more expansive way. I sooooo wish I could borrow the Radeke Building’s knitted garter belt!

moveon.org

barackobama.com