viz.

Image Credit: Huffington Post

This past Thanksgiving/Black Friday combo gave me some time to reflect on (read: be befuddled about) some of the paradoxical impulses these distinctly American holidays encourage. On Thanksgiving day, as I finished cobbling together the world's simplest casserole to take over to a friend's, my partner was snoring the next room, trying to catch a few proverbial Z's before heading in to work for a midnight shift. I muttered my frustrations into gravy that stubbornly insisted on being lumpy, desperately trying to mobilize holiday vibes and feel thankful about the jobs my partner and I are lucky to have. No dice, though. The fact that someone I love had to miss out on dinner with friends in order to be awake for a middle-of-the-night work day made me all sorts of spiteful. Increasingly, more and more people are in this terrible boat.



Image Credit: Harper’s Bazaar 

This blog post started as a conversation in the break room here at the DWRL.  After a discussion of the subversive, alternative female artists of the 90s—not only in band formulation like Riot Grrl or Bikini Kill but especially the singer/songwriters who dominated top 40 radio: Alanis Morissette, Melissa Etheridge, Fiona Apple—someone mused, “Where have all the angry girls gone?”

I can’t say I like the answer.  The angry girls have been billed as terrorists (MIA) or criminals (Fiona Apple).  Some girls perform anger in a way that only weakly resonates with the general public (Miley Cyrus).  But the angry girl has also been rebranded. The inevitable subsumption of alternative culture by the mainstream has cloaked our angry girl in airy dresses with flowing tresses and the voice of an angel to deliver the proverbial “fuck you.”  I am, of course, referring to the girl who’s on the cover of every magazine this week as she promotes her new album Red.  So hey girl hey, Taylor Swift—this week’s post goes out to you as I explore the paradoxical relationship between the underground and the mainstream, which emerge and subsume and emerge again in a cycle as endless as the couple on the verge of reconciliation (really! I think so!) in “We are Never Ever Getting Back Together.”