Angry Young Women

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Patti Smith: photo by Joe SiaOriginally published in Vogue

Rock ‘n’ roll is being hijacked by angry girls with electric guitars. Tired of playing airbrushed pop dollies for salivating male voyeurs, women on both sides of the Atlantic have seized the traditional rock weapon of phallic oppression and made it their own.

More importantly, they have exploded the Ideal Feminine of pop by singing of sweat and blood, lust and menstruation, fear and self-loathing. Inger Lorre of LA’s infamous Nymphs quotes Rimbaud to the effect that, when a woman has thrown off her servitude, she will “discover strange, unfathomable, repellent, delicious things”—which is precisely what acts as diverse as Hole, Belly, L7, Daisy Chainsaw, PJ Harvey, the Breeders, and Babes in Toyland are busy doing on their new releases.

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published: November 12, 2008

in column: Classic Vantage

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Ten Great Glam Rock Albums

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Originally published in Harpers & Queen,

Ten great glam rock albums you cannot afford to live without…

T.RexElectric Warrior/T. Rex (1971)

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Lester Bangs: Rock ‘n’ Roll as Literature, Literature as Rock ‘n’ Roll

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Lester Bangs: Courtesy of WikipediaOriginally published in Mojo

Whither Rock Gomorrah, the great gonzo hack’s unpublished swansong?

Over a decade has passed since the world lost Lester Bangs, the greatest gonzo hack that “rock ‘n’ roll writing” has ever spawned. And already six years have passed since Psychotic Reactions & Carburetor Dung, Greil Marcus’ collection of Bangs tirades from the outer limits of the amphetamine zone, introduced a new generation to his crazed, electrifying rantspeak. After all this time, it’s as if Bangs had been a cult rock star in his own right, not just a cult scribe. As the dust-jacket of Marcus’ book proclaimed, this was “rock ‘n’ roll as literature and literature as rock ‘n’ roll.”

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published: September 3, 2008

in column: Classic Vantage

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The Year Of The Smiths

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The Smiths: Photo by Paul Slattery Originally published in The Virgin Yearbook, 1984

Gay men paved pop’s way this year. With Boy George’s wardrobe fully open, all the closet cases came spilling forth: Burns and the Bronskis, Frankie and NRG. The subtlest victory was Morrissey’s—his the least fairy-tale, the least gaudily exhibitionist. Maybe it’s because he conjured a ghost from all our pasts: The outsider, the Weird One, the pariah you put at full-back so you didn’t catch his leprosy.

When Morrissey refused to play “festive faggot,” he was appealing to something fundamentally more lonely in us. He was making the outsider a star.

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