While pop artists like Katy Perry and Selena Gomez tween themselves down to look like hypersexual pre-pubescents, models in their twenties are dying their locks gray in an embrace of the “granny hair” trend sweeping the runway. Being inspired by older models strutting the catwalk with natural gray hair is admirable, but are these bright young things searching for a relevance lacking in their own generation? Actress Carole Lombard once commented:
With age there comes a richness that’s divine. Age takes on a beauty everyone can’t see, perhaps. But I see it … I don’t know of anything in the world more beautiful, more fascinating than a woman ripe with years, rich and lush as velvet with experience, her humor as tangy and flavorous as sunriped fruit. If women wouldn’t get so self-conscious about getting old, they wouldn’t get old mentally, and then they wouldn’t be old at all, only wise and simply divine. I LOVE the idea of getting old.
Or is this just another sad pop attempt to sexualize the previously tame image of a woman’s senior years? Is it still “defiant feminism” when you’re simply playing sexy masquerade? Even creepier still, is this another sign of feminism’s narcissistic embrace of a nihilistic mentality?
Tuesday, March 31st, 2015 - by Susan L.M. Goldberg
Dame Stephanie “Steve” Shirley, while a wife and a mother of a special needs child, pioneered an all-female staffed software company in England in the 1960s. Fascinated by technology, she also had a head for business. Possessing an interest in employing working mothers, her staff were able to work from home in a variety of capacities, including as coders and programmers. A self-made millionaire, Shirley turned many of her employees into millionaires as well by opening stock options to them at a time when that was a relatively unheard of benefit.
Adopting the nickname “Steve” in order to get her foot in the door with male clients, she employed “extraordinary energy, self-belief and determination” in a pre-second wave feminist era. Shirley didn’t wait for bras to be burned or Gloria Steinem to appear in her bunny suit before taking charge. In fact, the UK’s Sex Discrimination Act of 1975, a direct result of the second wave feminist backlash, required that Shirley hire more men into what she was proud to make a nearly all-female company.
This pioneering businesswoman’s story flies in the face of second wave feminist tropes regarding female business owners, women in the workplace, equal pay and women in STEM. Which demands the question: If feminism seeks to be an empowering voice for women, what can it learn from the ideologies, like capitalism, that it chooses to berate or ignore?
We Jews squabble enough when it comes to religion, but when it comes to Israel the gloves are off. Nothing is a greater testament to this than the vehement rhetoric coming from the Jewish Left in the wake of Netanyahu and the Right’s landslide victory in this past week’s elections in Israel. Whether it was Peter Beinart calling on the Obama Administration to “punish – yes, punish – the Israeli government” the virulent musings of Max Blumenthal, the anti-Israel Jewish Left came out in full condemnation, not just of Netanyahu, but of Israel at large.
The Forward jumped on the “Bibi is racist” bandwagon, reprinting Jeffrey Goldberg’s Tweet-condemnation of the slanderous tale embraced by Obama and his minions. If you are Jewish and have friends on the Left, I guarantee it didn’t take you longer than 10 minutes after Bibi claimed victory to get at least one Facebook post or Tweet claiming “he stole the election like Bush.” My PJ colleague Ron Radosh wisely diagnosed both the Obama Administration and the mainstream media as having Bibi Derangement Syndrome (BDS). And unfortunately, we Jews are not immune.
When I had the wonderful opportunity to march in New York City’s Israel Day Parade a few years back, I did so under the banner of an openly progressive Labor Zionist summer camp. My husband, a third generation member, had worked his way up from camper, to counselor, to business manager. Now as an alum he was excited to show me, his then-girlfriend, what he loved about his summers and give me the chance to revel in my Zionist pride. He’d worked the camp too long not to see past the politics, but had too many fond memories to be jaded by a lack of logic. In the end we were there to celebrate Israel, celebrate our freedom, and have fun with friends.
Or so I thought, until more than one angry parade-goer spat at me. “You are evil! You anti-Zionist pig! You’re killing us! You Leftists are killing Israel!” How were a group of teens and twenty-somethings, most of whom had been to Israel, many of whom were either pursuing or had obtained citizenship, and some of whom had or were serving in the IDF possibly killing Israel? These kids weren’t doing anything more than holding a contrary political opinion, yet that was enough to accuse them of being murderers. “Wait a minute,” I thought, “isn’t that what the Left is always accusing us of doing?”
I smiled at the crowd and wished them love through their gritted teeth and rage. Only two days earlier I’d been called a “conservative pig” by another camp alum who would later growl at me repeatedly, “You need to change your politics.” I came wanting to celebrate Israel. I wound up embroiled in a hot, angry mess.
Israel awakens our passions as Jews because Israel is a reminder of our responsibilities to God and to one another. If Israel fails, Holocaust awaits. No one but a Jew could understand the weight of that burden. Yet, instead of recognizing that we, Left and Right, are motivated by these same concerns and fears we allow the real haters of Israel to craft our opinions about one another. Suddenly everyone is an Obama, a Beinart, a Blumenthal. Anger morphs into rage and crafts summer camp teens into the next generation of hardened, bigoted, miserable adults, some of whom will then be motivated to become the next Beinart or Blumenthal in our midst.
King David writes in the Psalms, “be angry, but do not sin. Meditate in your heart upon your bed and be still.”
Next week one of my favorite ’80s movies (and of all time), The Breakfast Club, will return to theaters with a newly restored version for its 30th anniversary. I feel old.
In honor of The Breakfast Club re-release, here are my picks for the top ten thirteen ’80s alternative songs. These songs most remind me of my life in the ’80s so this is hardly a definitive list of the best. Feel free to chime in with your own favorites in the comments.
I tried to pick no more than one song from each band. Here they are in no particular order: (LANGUAGE WARNING ON SOME OF THESE)
1. “Eighties” by Killing Joke, released 1985
Why? It’s called “Eighties!” And it’s a great song.
2. “Love Will Tear Us Apart” by Joy Division, released June, 1980
This one barely makes it on to the list since it was released in 1980, but it’s important because it appeared a month after the tragic suicide of band member Ian Curtis. (ProTip: watch 24 Hour Party People.)
3. “Still in Hollywood” by Concrete Blonde, released 1986
This song has such an ’80s alternative beat, you can’t help but want to rock out to it. “She had purple painted cheeks and glitter on her eyes” — it doesn’t get more ’80s that that.
4.“She Sells Sanctuary” by The Cult, released 1985
It’s hard to pick one song from The Cult — “Rain” and “Nirvana“ are close — but “Sanctuary” will always be my favorite. Albums Love, Electric, and Sonic Temple from the Cult will never do you wrong. Also great: “Spiritwalker” off Dreamtime.
Obligatory picture of Ian Astbury:
5. “Institutionalized” by Suicidal Tendencies, released 1983
Yes, it’s sort of obvious that this song would make the list, but really, all I wanted was a Pepsi and she wouldn’t give it to me.
6. “Desire (Come and Get It)” by Gene Loves Jezebel, released 1985
“I’ve been a ball of fire in your arms desire.”
7. “Kiss Kiss Bang Bang” by Specimen, released 1983
Whenever I hear this song, I smell clove cigarettes and Aquanet. No one cared that much about the ozone layer back then.
8. “Cities in Dust,” Siouxsie and the Banshees, released 1985
I never wore as much eyeliner as Siouxsie, but how could anyone? Best line in the song: “Hot and burning in your nostrils, Pouring down your gaping mouth.”
9. “Blue Monday” by New Order, released 1983
It’s tough to pick one New Order ’80s song and “Blue Monday” is tied with virtually every song off of Power, Corruption and Lies; Low-Life; and Brotherhood.
Here’s the video to the ’88 version. I prefer the version off Power, Corruption and Lies
10. “This Is Not a Love Song” by Public Image Limited, released 1983
What else is there to say other than Johnny Rotten’s got a great voice for expressing teen angst. And just a great voice. PiL is another band where it’s hard to pick just one. Same Old Story is another favorite.
11. ”Pigs in Zen” by Jane’s Addiction, released 1987
Jane’s Addiction is one of my favorite bands. Perry Farrell has such a distinctive and beautiful voice. This is another band with many great songs in the ’80s, I could listen to the entire album of Jane’s Addiction or Nothing’s Shocking without thinking about moving on to something else.
12. “Rise Above” by Black Flag, released 1981
Because it’s Black Flag. Damaged is a great album and so is Slip It In.
13. “Kool Thing” by Sonic Youth, released 1990 (yes, it’s 1990 but really close to the ’80s so I’m going to go with that)
“I just wanna know, what are you gonna do for me?/I mean, are you gonna liberate us girls/From male white corporate oppression?”
So that’s my list — let me know in the comments what songs most remind you of the ’80s.
Thursday, March 19th, 2015 - by Susan L.M. Goldberg
Camille Paglia sits with Reason TV’s Nick Gillespie to discuss the failings of contemporary feminism, specifically in relation to the contemporary feminist obsession with gender politics which Paglia dubs “gender myopia.” Tagging the culture’s current obsession with viewing the world through the lenses of “race, class and gender” (what Gillespie titles “the holy trinity”) as a “distortion of the 1960s,” Paglia, a self-described atheist, explains that “Marxism is not sufficient as a metaphysical system for explaining the cosmos.”
The powerful dialogue should be required viewing for all college freshmen and women, of course. A general in the culture wars, Paglia continues to be the only academic unafraid to conquer Marxist ideology and its subsequent theoretical fields on its own turf.
Last week I expounded upon why my husband and I have chosen not to join a synagogue. The backlash I received, oddly enough primarily from Christian readers, essentially boiled down to accusations of selfishness on my part and an unwillingness to contribute to a community. My question in response is simple: What exactly defines “community” in terms of being Jewish? A reader by the name of Larry in Tel Aviv wrote:
I agree wholeheartedly with every one of your points and you could add a few more! Such as one wouldn’t know the first thing about anti-Semitism in the world today, the nature of the threats Israel faces and related, from the rabbis and synagogue politicos. In fact you wouldn’t know anything important about anything that matters, not from synagogue, not much from Hebrew School neither (even Hebrew is largely poorly taught, with exceptions).
Which prompted me to ask myself: Do Jews in America know how to be Jewish without institutional backing?
Based on some of the comments I received from Christian readers, it would seem that religion in America requires some kind of institutional affiliation in order to be legitimized. Whether it’s a church, temple, or yoga studio religious folks of all stripes need a facility through which to connect to one another in order to establish and reinforce their religious identity. Historically speaking, Mordecai Kaplan emulated this concept when he reconstructed the idea of synagogue as community, the physical center of Jewish life in Diaspora America. Why don’t Jews necessarily need this institutional bond today? The answer is simple: We have Israel.
As I mentioned in my last article, one of the reasons why my husband and I have elected not to join a synagogue is that we’d rather spend the money going to Israel. Some of those reasons include the reality expounded on by Larry in Tel Aviv. If you want a solid geographical, cultural, historical connection to being Jewish, you find it in Israel. If you want to understand that being Jewish is both secular and religious at the same time, you learn that in Israel. If you want to know how to establish a lasting Jewish identity, you figure it out in Israel. We were not a group of popes and monks called upon to cordon ourselves off behind incensed walls in medieval monasteries. We were and are a nation and a national identity requires more than just a religious makeup in order to thrive.
Wednesday, March 4th, 2015 - by Susan L.M. Goldberg
Don’t let the appearance of Rainn Wilson fool you. Everett Backstrom is no Dwight Schrute, nor is Backstrom yet another take on the Sherlock trend. This smart, funny detective series walks into dark territory to examine the human desire to look toward the light. It goes against formula and against the grain manipulating authority and questioning politically correct cultural norms in pursuit of truth, justice and, even more intriguingly, redemption from evil. Here are 7 reasons why Backstrom is trendsetting, essential counter-culture conservative television that demands a place on the air.
Submitted again for consideration, Adam Carolla, born as his very cohort, Generation X, was beginning in 1964.
Joining him in this chapter is writer Chuck Palahniuk, born in 1962, another prominent Gen X cultural figure.
Consider now, as the swath of humanity that followed the boomers reaches full majority, in fullest possession of its powers, how variant Carolla/Palahniuk countercultures confront what we see on the horizon. How will the legacy of Generation X be written from this point forward?
How will a generation’s power-players and cultural icons impact, for example, policymaking on healthcare, strategies for dealing with the radical Islamist threat, and the social landscape that the millennials following them will inherit?
In September 2013, PJ Lifestyle editor David Swindle, riffing on Strauss and Howe’s Millennials Rising: The Next Great Generation, laid out his self-described “oddball” take on generational theory. Swindle argues for more detailed time-frame specifications in generations, recommending five year break-downs in place of the usual twenty — “boomer-leaning Gen-X-ers,” “Millennial-Gen-X blends,” “Gen-X-leaning Boomers,” “Millennial-leaning Gen-Xers” and so forth.
However you want to slice and dice the decades — for the sake of this discussion, Carolla and Palahniuk are instructive examples of the reactions, rebellions, and disillusionments of a generation shaded by oblique pathos.
On the earliest cusp of X, Carolla is part of the generation that inherited a choice between three ideological frameworks: progressivism, reactionary traditionalism, and unaffiliated rebelliousness.
Palahniuk predates the official kick-off of X, but is arguably too young for the boom. He served as a transitory figure, a harbinger of Gen X‘s devastatingly critical, tribal quest for definition.
Adam Carolla and Chuck Palahniuk, an unlikely duo but for their Gen-X lineage, hold claim to tributary subcultures that were natural responses to the boomer counterculture that rejected button-down corporatism and neo-Victorian social mores.
Where Palahniuk twists culture to his visionary fictional ends, Carolla goes hammer and tong to make sense of it.
My first adult experience with Gen X came primarily from two sources. First, when I met younger parents from across the socieo-economic spectrum in my children’s schools. Second, when I hired or began to compete with young guys coming up in the paint-contracting trade.
Something I noticed about both cohorts right off: Gen-X cynicism on the subject of national pride, a rejection of the reflexive patriotism that I had been inculcated with since birth.
We said the Pledge of Allegiance, with God and without irony, every morning at Hillview Crest Elementary School in Hayward, California. This ritual recitation was not yet under assault when Carolla and Palahniuk were schoolchildren in the late sixties and early seventies, but criticism of the Pledge on grounds of church/state separation was coming.
Another noticeable difference I discerned between my fellow boomer kids and many in the generation supplanting mine was a devolved sense of the wisdom and integrity of the elders. Though we’d rebelled against parental and societal units, they were intact units for most of us, and thus recipient of residual respect.
X was rebelling against the failure of the units. Who can blame them for skepticism about narratives handed down in the midst of social transformation?
Another striking thing about the Gen-X parents with millennial children: they were having fewer kids. At least in my neck of the woods—white suburbia around Portland, OR. Gone were the large families I remembered from the grade schools of my youth, with three, four, and even five children. There were lots of single moms in the mix, many with only one child.
Even as Gen-X emerged from the flatlands of generational history, predecessors found the crop coming up to be at a vague, not-immediately-readable disadvantage. There was the sense that despite the boomer legacy of conformity as fifties children and upheaval as sixties teens, somehow the squarely situated boomer-kids had it better than their children.
Palahniuk summed things up in Fight Club, when antagonist (if the term even applies here) Tyler Durden says,
Our Generation has had no Great war, no Great Depression. Our war is spiritual. Our depression is our lives.
Though Palahniuk’s theme of alienation and purposelessness can be extrapolated universally, Durden’s morose dictum is understood to most apply to the generation stuck between the boomers’ long fade and the heel-snapping millennials.
The Greatest Generation had Pearl, the boomers had JFK. September 11, 2001, belongs to all of us, but history bequeaths it to the millennials.
Applied mythos for Gen X doesn’t focus on any history-making date.
Their crisis moment is like Palahniuk’s depression, which moves from functioning to acute. They came from broken homes, the first, true Children of Divorce.
Tyler Durden again, “a generation raised by women.”
Divorce and the ascendancy of feminist theory combined toxically in the era’s primordial soup; norms which boomers only dipped their toes into, Gen-Xers became immersed.
As we move towards a near future as threatening as any that contemporary observers have seen, what is the result of the experiment?
Irony in Carolla’s generation has always aspired to an intellectual gravitas out of proportion to its value as an assessment mode for the human condition. Humor, in the hands of either Carolla or Palahniuk, is internally targeted, at an irremediable state of disenchantment, a diaspora of disillusionment bred by failing social institutions into their very bones.
Though boomers were concurrent in history with social upheaval and the erosion of traditionalism, such counter-ideology had not yet become ingrained into the culture. Boomer kids with positive associations to traditionalist America benefitted from a durable connection, which proved decisive for many with the Reagan Renewal.
But too many Gen X progeny approaching adolescence and young adulthood in 1980 missed the Gipper’s wave. Raised by culturally progressive parents and academic liberals, they flocked underneath the nanny state’s skirts.
Palahniuk’s associations to visceral fear–violence versus ennui, terminal support groupiedom, soap-rendering from fat, corporatism as the ultimate evil–are different from what boomer kids feared in their gut.
Nobody at Hillview Crest Elementary School got divorced. Parents stayed together, for the kids, and we liked it. Crawling under elementary school desks and lore about Khrushchev’s hammering shoe sat heavily in our stomachs. Boomer kids inherited the potential for being incinerated thirty minutes after war broke out.
Carolla and Palahniuk were born into that, but the possibility of death from above peaked with the Cuban Missile Crisis in 1962. Threats from within domestic body-politic were coming home to roost. Gen X could still be atomized by the Russians, but were more imperatively left with the fallout created by existential threats to the pillars of society: marriage, faith, the social contract, industry, and national sovereignty.
There is no generational exactitude. Generations flow; there are overlaps, demographic choke points, trail scouts, and cave fighters. The decimations of disease and war skew the transitions. But there comes a point in life when a person realizes that generational culture has overtaken them.
Songs that boomers lauded as visionary Gen-X anthems are now twenty years old.
Last week social media jumped on the story of a woman who supposedly decided to have a late-term abortion specifically because she found out she was having a boy. Based on a near-anonymous comment posted on an Internet forum, the story is highly questionable at best. Nevertheless, both pro- and anti-abortion advocates pounced on the missive. The dialogue generated took on a life of its own, inspiring the following comment from feminist site Jezebel:
“The virality of this story is sort of a nice reminder about confirmation bias: when something fits our preferred narrative just a little too snugly, it’s probably time for skepticism,” wrote Jezebel’s Anna Merlan.
How, exactly, does gendercide “fit our narrative” in the West, especially in relation to boys?
Wednesday, February 11th, 2015 - by Susan L.M. Goldberg
This year you could spend your Valentine’s Day in a theater full of middle-aged women oozing over a hot-bodied twenty-something whipping his blindfolded secretary to the point of striking blood in the name of “love.” Daytime televisionloves to play up to the Soccer Mom demographic (a title first dubbed to describe Clinton fans, ironically) seeking fantasy fulfillment in the form of sexual fiction. It was corny enough when shirtless Fabios graced the covers. Now that the most popular sex trilogy focuses on a woman who willingly allows herself to be sexually abused, is pop culture humoring those bored housewives too much?
While the majority of Fifty Shades fans are typical middle-aged marrieds dissatisfied with their partners (or even themselves), anywhere from 5-25% of Americans “show affinity” for BDSM (Bondage/Domination-Discipline/Sadism/Masochism) in the bedroom. On an issue that poses a particular sexual threat to women, feminists are split 50-50 between being against sexual abuse and for a narcissistic “if it feels good, do it” sexual ethos. Hence, a pervert who trolls Fanfiction.net (the original home of Hobbit-inspired Elvish/Dwarf porn) can turn her twisted sexual fantasies into an overnight sensation. After all, it’s all about love in the end. Or is it?
For hacks of a certain vintage, the name “Rod McKuen” served as a effortless go-to punchline ingredient, the way “Sarah Palin” or “Justin Bieber” does today.
Zillion-selling author and lyricist McKuen was the Thomas Kinkade of poetry.
His death last week left me decidedly unmoved, except that I was quite distressed to learn this, from Mark Steyn:
And yet it is a melancholy fact that Frank Sinatra, a singer with matchless taste in music, nevertheless recorded more songs by Rod McKuen than he did songs by, to pluck at random, Duke Ellington, Dorothy Fields, Noel Coward, Bacharach & David, Leonard Bernstein, Vincent Youmans, Cy Coleman, George Gershwin… He recorded as many songs of Rod McKuen as he did of Jerome Kern – 13 apiece. And he never made an entire album devoted to Kern (or to Porter or Berlin or Rodgers) as he did to McKuen.
That was the only obit I read, so my next weird discovery was purely accidental…
I continue to pickax my way through a massive, eclectic “mix tape” sent to me by a longtime reader, and recently alighted upon tunes from a compilation called Las Vegas Grind Vol. 3. (Think of the slightly raunchy, faux jazz music you hear in 1950s and 1960s B-movies.)
One song caught my ear. Wait a minute: That’s…
It was listed as “(I Belong to) the Beat Generation” (1959) by Bob & Dor.
Now, I’ve always been far more enamored of British punk than its American — more specifically, New York City/CBGB’s — iteration.
So that’s why I’m the last to know:
Not only did Hell lift his punk anthem directly from McKuen — the “Bob” of the ’59 duo — but he didn’t even share the writing credits (and therefore royalties, puny as they probably were) with the old guy.
Naturally, Hell dumped McKuen’s satirical lyrics — Beatniks being so easy to spoof by “squares” that there were probably more ersatz ones about in the fifties than living specimens — and substituted his own:
They’re a cry from a typically tortured, self-pitying but precociously gifted adolescent, if Pete Townshend’s “Jimmy”had read Baudelaire.
What always struck me about those lyrics was the first line’s “As I was saying…” flavor, as if the spirit of punk had been in the womb or in a coma and had finally reawakened or been born, unaware of how long it had been in stasis.
This sensation is more acute now that I’m aware of the song’s lineage.
Anyway, maybe McKuen found the whole thing too flattering or funny to sue over. And yeah, he was rich anyhow.
[Malcolm McLaren] had already spotted Richard Hell, a New York poet and musician, who had been in the groups Neon Boys and Television and would go on to write the punk anthem “Blank Generation”. “I just thought Hell was incredible,” he recalled. “Here was a guy all deconstructed, torn down, looking like he’d just crawled out of a drain hole, covered in slime, looking like he hadn’t slept or washed in years, and looking like he didn’t really give a **** about you! He was this wonderful, bored, drained, scarred, dirty guy with a torn and ripped T-shirt. I don’t think there was a safety pin there. This look, this image of this guy, this spiky hair, everything about it. There was no question I’d take it back to London. I was going to imitate it and transform it into something more English.”
Thursday, February 5th, 2015 - by Susan L.M. Goldberg
Self-dubbed “meninists” have gone on defense after a Superbowl commercial inspired women to proclaim to the world the power of being #LikeAGirl. Ironically, the sexism inherent in their response pales in comparison to the gender bias expressed in defense of the commercial. Once again, gender feminists out themselves as a group bent on erasing gender, specifically female gender, from American culture. The problem is that they are so bloody brainwashed in indoctrination that they don’t even realize they’re doing it.
In an attempt to defend the pride a woman should take in acting #LikeAGirl, gender feminists only manage to uphold the notion that women are weak and oppressed and need public approval in order to be “empowered.” Moreover, in order to gain that much sought-after public approval, women must take on androgynous appearances, hobbies or careers that require them to leave their femininity at home under lock and key.
And former folk singer Cat Stevens, now known as Yusuf Islam, came out this week and said he advocated the assassination of Salman Rushdie. So much for that “Peace Train” crap, huh, Cat? … Yeah, I could see this comin’ years ago on his old album, Tea for the Killerman. You, uh, you remember the big hit:
I’m being followed by a big Muslim
Big Muslim, big Muslim
Big Muslim, big Muslim
Big Muslim, big Muslim
How can I try to explain
When he do I turn away again
But it’s harder to ignore it
If they were right, I’d agree
But it’s them they know, not me now
There’s a way and I know that I have to go away
I know I have to go
Tuesday, October 28th, 2014 - by Susan L.M. Goldberg
Twenty-four percent of married couple families with children under 15 have a stay-at-home mom. Ninety-nine percent of stay-at-home moms in the movies get a really bad rap. Search “Best Movie Moms” and you’ll get lists that include Shirley MacLaine in Terms of Endearment, Sigourney Weaver in Aliens, Shelly Duvall in The Shining, and more than a few mentions of Psycho. The majority of movie mothers are either widowed or divorced, careerists or working class, alcoholics or impregnated by UFOs. The closest you’ll get to a stay-at-home mom in post-1940s cinema is Kathleen Turner playing the psychotic Serial Momor Michael Keaton taking on the role so his wife can pursue her career in Mr. Mom.
In fact, outside of Sandra Bullock in The Blind Side there hasn’t been a truly admirable middle-class, white, stay-at-home mother on the silver screen in over 50 years. Which is probably why Mom’s Night Out received such a negative critical reception when it premiered last spring. We have been acculturated out of believing in the power and purpose of stay-at-home moms. Yet, the criticisms leveled at Mom’s Night Out for its “depressingly regressive” spirit and “archaic notions of gender roles” were not applied to a similar film about a stay-at-home mom released only two years prior. This Is 40 received mixed reviews, but praise for yielding “…some of [Judd] Apatow’s most personal observations yet on the feelings for husbands, wives, parents, and children that we categorize as love.”
So, what made This Is 40 palatable in a way that Mom’s Night Out wasn’t? Is there, perhaps, a culturally acceptable way to be a stay-at-home mom?
The third wave of feminism got started in the 1990s as a reaction against the second wave fought by their mothers (both figuratively and, sometimes, literally). There were some central tenets at the heart of third-wave feminism, and they can be illustrated in contemporary music. Join me on a walk through ’90s music, and the ways in which these songs illustrate third-wave feminist ideals.
1. Third-wave feminism went beyond legal equality for women, but empowered women to fight for other social issues as well.
One key way in which third-wave feminism differed from earlier waves was that it wasn’t just about women. Take, for example, the Third Wave Direct Action Corporation, founded in 1992. One of the founders was Rebecca Walker, daughter of second-wave feminist Alice Walker. In 1997, the group became the Third Wave Foundation, and was not only dedicated to traditional women’s rights issues, but worked to “explicitly connect women’s issues to issues of race, sexuality, class, and ability.” This was bigger than simply legal equality for women.
Arrested Development’s “Mama’s Always on Stage” (1992)
Each time I put one of these up it acts as a sampling of what you might’ve heard on any major radio station during that particular decade. Needless to say, the genres and songs will vary. I’m deliberately trying to not be too systematic about it, save by year. Although I may at some future date post some articles on the specific genres of this time – funk, southern rock, pop, etc. If any of you think that might be a fun idea, please let me know.
I suppose it would be fair to say that in songs such as this, early on, are the roots of progressive rock. Certainly this doesn’t fit the mold of end-’60s rock.
Recently, Susan L.M. Goldberg posted this aforementioned list. It is a good list, don’t get me wrong, but I politely disagree that these songs typify the sound and feeling of the 1980s generation, as it is only one narrow “slice” of them (and a very “top 40 Pop” one at that). So here is an alternate list of our music for the millennial. Disclaimer – I am a member of this ’80s musical age group, so I am biased in this. Sue me, I got’s nothing.
To correct a misnomer, many people of my age-group generally do not hear Bruce Springsteen and connect with him. He is, and always was, far too generic, raspy “Pop” Rock for our tastes, background noise in a sea of great tunes. Remember, a big part of the thrust of this genre was to stake out a musical claim that was different than our recent forebears, not just copy them.
If we wanted to listen to 80s “Rock” done our way, we’d probably listen to something like this. These guys are basic and generic, yes, but they were ours -
Tuesday, September 23rd, 2014 - by Susan L.M. Goldberg
Sure, you know how to write an assertive cover letter and you have a wardrobe of freshly pressed black and navy blue suits. But, just because you’re doing everything the manual tells you doesn’t mean you aren’t going to make a mistake in your job search. From my other life working in human resources, I give you the ten best mistakes applicants have made in pursuit of a job.
10. Want to include the fact that you taught an adult education course on photography on your resume? Don’t dub yourself “Adult Photography Instructor.”
Language matters. In the age of social media and Google, applicants should understand that lying on their resume isn’t an option. Just be sure you aren’t getting so creative with your wording that you make yourself sound more qualified for porn than a professional environment.
Tuesday, September 16th, 2014 - by Susan L.M. Goldberg
You’ve seen Thriller and heard all about Madonna, but what do you really know about the decade that ushered in the millennial generation? Think the era of scrunchies, boom boxes, pump sneakers and DeLoreans was just a fad? Think again. Some of the 1990s’ greatest pop culture trends were birthed in the millieu of Reaganomics, cable television, and a music video-loaded MTV.
15. Culture Club – “Karma Chameleon”
The ’80s was the decade of John Waters, the B-52s and all things camp coming to fruition. Decked out in eyeliner, lipstick and braids, Boy George popularized the aesthetic of this gay subculture with a poppy little tune about conflicted relationships. As for the music video, where better to set a gay guy’s love song in the ’80s than an 1870s riverboat called the “Chameleon” where a cheating gambler’s karma comes back to haunt him? Dude, it’s the ’80s: “Don’t ask, don’t tell” started here.
I was in seventh grade, and it happened at lunch. I don’t know what we were eating — chicken nuggets, most likely.
I wasn’t aware of it right away, but already there were whispers: something happened in New York City, at the Twin Towers. Was it an accident? Or was it a malevolent act?
We’d find out later. My English teacher told us that planes had struck both lead towers of the World Trade Center. Another had hit the Pentagon. Strangely, I didn’t think anyone had died. I assumed the buildings were damaged and that they would later be repaired.
At the end of the day we were called down to an assembly and we were told that the whole thing was an accident. They gave us the usual spiel: talk to your parents; we’re here if you need us; it’s okay to cry.
I went home and turned on the news and stayed glued to it. They kept replaying the crash and the carnage: the explosions, the screaming. I was horrified.
This, of course, was no accident.
Obviously, I knew that what took place was a terrorist attack. But I couldn’t decipher the motivations.
And this led to something funny, perhaps darkly so: I recognized immediately that the Twin Towers were the two tallest buildings in New York City. So instead of viewing the attack as a Huntington-esque “clash of civilizations,” I assumed al-Qaeda wanted to destroy large buildings.
Our middle school was, I thought, the tallest building in town. Were we next?
Tuesday, September 9th, 2014 - by Susan L.M. Goldberg
13. She has discovered a close kinship with George Costanza.
Sure, she may come off all serious in her videos, but Lana Del Rey has a seriously good sense of humor. According to Rolling Stone, Lana Del Rey ”has a George Costanza-like plan for the future.”
“I’m really specific about why I’m doing something or writing something,” she says. “But it always kind of gets translated in the opposite fashion. I haven’t done it yet, but I’ve learned that everything I’m going to do is going to have the opposite reaction of what I meant. So I should do the opposite if I want a good reaction.” She’s surprised to learn that George tried this approach in an episode of Seinfeld. “Oh really? That’s awesome. Me and George Costanza! Oh my God!”
Thursday, September 4th, 2014 - by Susan L.M. Goldberg
I pushed off the idea of writing this article when I first heard that Joan Rivers, one of my comic icons, was rushed to the hospital after a botched outpatient procedure last week. I didn’t want to think about having to say goodbye to Joan, to bid farewell to yet another icon of an age gone by, a powerhouse who managed to be a cultural force until her last breath. The only solace we can muster is in knowing that, for these ten reasons at least, Joan’s memory will be a blessing.
10. Joan never grew old or gave up.
At 81, she was as attuned to pop culture, politics, and current events as a 20 year old. A self-made fashionista, the comedian never retired, sat in a chair, or gave in to technology. Joan will forever be a role model to women who refuse to trade style for a shapeless moo-moo and an office chair for a rocking chair. In her later years she paired up with Melissa, illustrating that mothers and daughters really can work together and get along. She was a modern Bubbe, surrounded by her children and grandchildren as she took the world by storm.
Tuesday, August 12th, 2014 - by Susan L.M. Goldberg
As a Gen-X/millennial crossover, I was fortunate enough to first meet Robin Williams as Mork from Ork on the sitcom Mork and Mindy. A comedic powerhouse, Mork’s colorful wardrobe and loud laugh were the first things I imitated as a child. As I grew up, I would look back and realize the many character lessons I learned at home were reinforced by a supremely acted alien outsider with a predilection for sitting on his head. In virtually every role he played, Robin Williams taught his audience a life lesson. As a young kid there was no one more fun to hang around with and learn from on TV than Mork from Ork.
10. Old people rule.
Mork marvels at the way the elderly are ignored and maligned on earth. On Ork, old folks are revered as the wise, experienced ones to learn from. “The Elder” is called on to remind Mork of his Orkishness. His was an early lesson in the importance of respect and reverence for the elders in your life and how very important all people are, no matter and, perhaps, especially because of their age.