Amy Winehouse…
I thought I’d re-post this because of the SXSW hype about Ms. Winehouse. I should be back with an actually new post in a day or two…-brandon
There’s a lot of talk about Amy Winehouse because of ‘You Know I’m No Good’ from ‘More Fish’ which begs the question, why hasn’t Mr. Maygreen blown-up? His vocal approximation of an incredibly specific bygone r & b era on ‘Good’ is just as impressive. Okay, so there are obvious reasons why Mr. Maygreen isn’t the talk of the U.K press: he probably doesn’t have an album out and someone that can sound Bootsy Collins is a lot less interesting to most than someone that sounds like 60s r & b. Even if those reasons weren’t the case, Winehouse has a lot of other things going for her.
First, the incredibly fickle U.K press. Once again, everyone has forgotten that England is a tiny piece of shit country where the press holds a lot of power and can make bands like Arctic Monkeys superstars. England isn’t open-minded, nor is it hip; it’s just small, so music critic love can make something incredibly popular. Imagine if the United States were only New York, the music charts would be “hip” too. It is for these reasons that punk rock was able to blow-up in England while remaining a subculture here.
Second, Winehouse is white. Her music proves just how far people will go to embrace black music while removing the black element. This is particularly true in the incredibly, musically racist U.K. These assholes will act like because they celebrated Jimi Hendrix they aren’t racist (just as the French still wear their acceptance of Josephine Baker as a badge). The reality is most white critics, particularly, foreign, white critics, when given the option, always adopt the white version of black culture. Can you say trip-hop? In the case of Winehouse, it is more disturbing because she has been embraced not only for her ability to sound like old, black singers but because her troubled, personal life is interpreted as making her soul music, that is, her connections to black music, more “authentic.” She is clearly trying to be Billie Holiday. This is borderline minstrelsy: (from ‘Rehab’) “I ain’t got tha tahhme/And if mah’ daddy thinks ahm fahne”. This is appropriation in the most fucked-up form but for some reason, no one is really complaining. The reason she is not questioned, challenged, or laughed-off for being white is because she is also nuts and can approximate a “black” voice?
Third, she is a woman. To many, Winehouse’s troubles are celebrated through some, confused feminist lens that celebrates her public hi-jinx as honesty. Julianne Shepherd’s recent ‘Interrobang(?!)’ said this:
“In the UK press, Winehouse has both been lauded as a talent in the classic soul and jazz sense, and held up as a drunken, eating-disordered, and generally disheveled pariah. She has been honest about all of these things– which, as those who have been drunken, eating disordered and disheveled will tell you, is no easy feat.”
No, it is not easy to discuss drinking problems or eating disorders but this is not what Winehouse is doing. She perversely uses her problems as both a P.R and anti-P.R moves (as not to alienate any fans), essentially making her problems a dark joke. Now, she can do whatever she wants with her problems but the fact that she is getting credit for being honest when she is at best, being sarcastic, is troubling. The fact that Shepherd, by far the most enthusiastic and (in the best sense of the word) impulsive of Pitchfork’s writers cannot actually say anything about Winehouse’s music in an article that praises the singer, is quite telling. When Winehouse uses her music instead of the press to address emotional issues, it is done in the least subtle of ways.
‘Rehab’ removes all of the subtleties of Winehouses’s supposed influences. While Nina Simone or Billie Holiday or girl groups used their very-specific femininity and the problems that stem from this as a sub-text, Winehouse rubs it in your face. Her music is a gross misreading of the female-fronted music she seems inspired by. There is something refined and at the same time, utterly brash about the music of these women singers, while Winehouse’s music is so cheeky it is uncomfortably obvious. Cat Power, who also went black-soul-throwback with ‘The Greatest’, was for many years, notorious for instability but never wore it as a badge even if every song she sang, in one way or another, was about said instability.
Winehouse’s ‘Rehab’ sounds like a song from ‘Dreamgirls’ if ‘Dreamgirls’ were an off-off broadway musical instead of the Hollywood musical it is. That it to say, its approximation of the girl-group sound is significantly better than anything in ‘Dreamgirls’ but it is served through this hipster, “downtown” irony that seems to be where Winehouse is coming from. These impulses, the performing the action of honesty while making light of it all, allow her to be critique-proof and therefore, not controversial but safe, completely explains the UK press’s celebration of her. People love safe rebellion, quantifiable craziness, soft edginess, etc.
Winehouse has an incredibly contrived public persona that fully exploits her own neuroses not for absolution but for cheap popularity and misguided critical respect. So contrived is her persona that it is supposed to come off as totally uncontrived. She comes off as hot enough that males will think she is hot but ugly enough that women can’t hate her. When she says annoyingly flirty things like “I like pin-up girls. I’m more of a boy than a girl. I’m not a lesbian, though — not before a sambuca anyway” she’s begging dudes to jerk off to her. And fellas, if you haven’t busted a nut yet, in that quotation, she’s talking about her pin-up girl tats. Oh snap!
Her music isn’t bad as in, it’s alright, so I see why the British press and 30-something ‘New Yorker’ readers might embrace it, but I just can’t believe that so many others are being fooled. In contrast to Shepherd, Amy Phillips’ Pitchfork song review of a Hot Chip remix of ‘Rehab’ said: “Basically [Winehouse] sounds like a street-smart version of Joss Stone. (Not that we in any way needed a street-smart version of Joss Stone.) To extremely confused people, this means she’s comparable to Billie Holiday and Lauryn Hill.”
Dear Extremely Confused People,
There’s a guy named Jaheim. He sang on ‘My Place’ by Nelly and he’s also on that Cam’ron album that Pitchfork told you to buy. He has a much better sense of r & b history and deservingly samples Willie Hutch as opposed to fraudulently sampling girl groups. There’s also Cody Chesnutt. Remember him? If not, dig through your back issues of ‘Fader’ from 2003 or so. Can you send some of your love R. Kelly’s way? I know you chuckle at ‘Trapped In the Closet’ as if R. Kelly isn’t in on the joke (he is) but this dude can sing and if you’re interested in psychos, it doesn’t get realer than R. Kelly. The motherfucker pees on under-aged girls! That’s actually troubled! Not troubled by way of some prep-school attending, child of musicians, Jewess, with a good approximation (I suspect, thanks to some studio processing, but that’s another story) of the Shirelles.
Love,
brandon
Also, this is William’s comment on the original entry which is well-worth reading…
“The critics all love Amy Whinhouse in NY”….hispters have hard time with soul music unless it is a)older or b)it is done by a white artist… they always need to create some sort of emotional distant between the the music and themselves music….soul music is all about sincerty and we all know sincerty makes the readers of pitchfork uncomfortable… Look same at mass Hispter jerk off to Justin Timberlake (see Pitchfork review of Unsexxy///soundsssss)…But have any of them even listened to a Jahiem album. Pretty smiley boy Justin is playing around about fucking…Jahiem is gonna fuck…
William
And just because…
How to Enjoy Rap Music If You’re A N00b: Volume 2
1. Dope Dayton Ave – Dayton Family (from ‘What’s On My Mind?’)
2. Serenity Prayer – Goodie Mob (from ‘Soul Food’)
3. 93′ Til Infinity – Souls of Mischief (from ‘93 Til Infinity’)
4. 03′ Til Infinity – Consequence ft. Kanye West (from ‘Take Em’ to the Cleaners Mixtape’)
5. Vernal Equinox – CAN (from ‘Landed’)
6. Pimps – Eightball and MJG (from ‘Comin’ Out Hard’)
7. Sequence I – Fabio Frizzi (from ‘Zombi OST’)
8. Call Me Rambo – Ackie (from I don’t know where, read about it in ‘Wax Poetics’)
9. I Got 5 On It – Luniz ( from ‘Operation Stackola’)
10. It Was A Great Day – Pharrell ft. DJ Drama (from ‘In My Mind (The Prequel) Mixtape’)
11. Dungeoneering – Tim Hecker (from ‘Harmony in Ultraviolet’)
12. Auto Rock – Mogwai (from ‘Mr. Beast’ and ‘Miami Vice OST’)
13. Trill Ass Nigga – UGK (from ‘The Southern Way EP’)
Here’s Volume One.
Are You A Serious Comic Book Reader?