“cake or death?” and other user experience design options to consider

after mentioning him in the previous post, i ended up going on what can only be described as an eddie izzard bender.

a self-identified “male lesbian,” and “action transvestite” (you know… “running, jumping, climbing trees… putting on makeup while you’re up there”: action transvestite), izzard is also fluent enough in english and french to do standup in both. so clearly the man understands a thing or two about the intricacies of hybridity and cross-cultural communication–phenomena that likewise are pretty fascinating for me.

i first saw dress to kill in 2002, and what forever earned my respect for izzard’s genius is when, during the encore, he actually performs a bit in french and manages to get everyone in the audience–and me watching–laughing hysterically. i don’t know french. neither does most of the rest of the english-speaking, san francisco audience where the show was recorded. yet in a feat of linguistic alchemy he somehow is able to completely pull it off. we’re watching him in a different language, and we totally get it. it’s such a bewildering display of how little a language barrier might actually matter in the process of understanding people who are unlike us that it feels like you’ve just witnessed a magician perform rather than a comic.

so somewhere in the course of the haze induced by binge consumption of every glorious, sexie, eddie izzard clip on youtube last weekend, i stumbled onto his website. i’m not entirely sure i remember how i got there, but i do remember flashes of what happened after. (note: this will be way funnier if you’ve actually seen eddie’s shows. since i had just watched several years of them before i arrived at the site, it was completely hilarious to me.)

when i went to sign up for eddie’s email list, i was faced with the following options:

Send me news and info about Eddie via Email

Only send me gig & appearance emails for my chosen country
Cake OR Death

when was the last time you were asked THAT before joining a mailing list?

and furthermore, what’s a nav. section called Thingie Things gonna lead you to?

click on it and an audio clip of izzard’s voice admits, “well, it was the pressy-makey-doey-things page…but that didn’t really fit it.”

maybe you might want to pressy-makey-doey up on eddie’s sexie fridge

eddiesfridge.jpg

…where you drag words eddie utters during his show onto the jam smear on the fridge and then play them back to hear him say customized nonsense. (“jamtart arthur squeezy fishburger murderers catapult” is a good one).

but let’s back up for a second. maybe you’ve never seen eddie’s standup. maybe you came here because you’ve seen eddie in a movie, or on his TV show, the riches, and you’re trying to find out more about that. then you want the Eddie's ACTiNG page. and when you click on it, eddie’s relentless, adlibbing audio which follows you around–as in real life so on the internet–announces in a tone of sophistication, “this is the acting page. it is a very serious page.” it, in fact, does look very serious. with a vogue-y black and white glamour shot of izzard. but when you look in the corner there’s a little purple beehive just below eddie’s face with bees buzzing all around it. drag your cursor over to it to find out what the hell that’s all about, and your mouse gets covered in bees!

you may have seen glorious. you may not. you may think that’s hilarious. you may not. but either way, at least there’s something different going on here. something unexpected. and it’s not some kind of slick design-gasm. it’s not trying to wow you with unprecedented feats of programming. no. the site actually comes off as a pretty uncomplicated bit of online real estate, but with these absurd little pressy makey doey game-y bits. and it’s great!

i think the most important question for anyone creating a website to answer has to be “what do you want the website to do?” and at the basic level this question is pretty easy to answer. sure you want it to provide information, to sell something, to connect people, to encourage participation, whatever. all that’s well and good, but as soon as it gets beyond the level of “what do you want it to do beyond simply function,” the vision for what’s possible becomes kind of polarized and discordant.

on one side of this mania there’s:

make more features!
make it slicker!
make it cleaner!
make it cooler!
make it bigger…

 

and on the other side is something my friend jesse shannon calls the “myspacification of websites,” where content management systems are churning out the online equivalent of cookie-cutter suburban tract homes. sure it might be super intuitive and user-friendly, and you might know where your neighbor’s bathroom is located when you come to visit without anyone ever having to tell you, but….isn’t there anything else to an online experience beyond features or navigability? beyond flash or content management?

how about “i want the website to entertain people.” or “i want it to make people laugh.” creating a FUN experience is just as valid as an easily-navigable, informative one, but between the designer, the developer, the information architect, and everyone else…. whose job is it to make sure a site is FUN?

i once got asked if the “this is not a trend” in masthead image on this site is supposed to be a reference to magritte’s “this is not a pipe.”

Image:MagrittePipe.jpg

and while we may not all be looking for subliminal surrealist messages in our online experience, i think we are definitely looking for that kind of element of surprise, for unexpected juxtapositions, and even for non sequiturs sometimes, the same qualities that made the surrealist movement’s artistic expression so different from what had come before it. check out whateverlife.com on that note. the whole thing was originally created by a teenage girl who taught herself all the necessary design skills. not surprisingly, since there was no formal training which could instill upon her what a website SHOULD look or operate like, it looks completely different from any typical site.

perhaps it’s because we’ve always thought of the online experience as “browsing” that all we’ve been doing so far has just been making different versions of that one experience. maybe it’s time to re-imagine the whole thing. to integrate fun into its very functioning (as opposed to relying solely on the content), to reclaim it from its current humorless condition–and i mean, beyond just with LOLcats or cute hipster tech geek colloquialisms in dialogue boxes and error messages. if you’re looking at whateverlife and thinking, oh, so does this signify the next stage of a website experience?

instead think: maybe it just seemed like it would be fun.

http://lukaret.com/kusina/images/chocolate-cake.jpg

    



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across the universe’s “discovery strategy” model

first, you need to watch the trailer for sony pictures’ across the universe: here. if you cannot be trusted to come back here afterwards, however, you can just watch the shittier-quality youtube version:

ok then. now that you have been adequately briefed, we can begin.

i first saw the trailer for across the universe on quicktime.com in march and was not only blown away by how stunningly imaginative the visuals looked, but actually–i swear!–brought to tears by the drama of 60’s-era youth struggle depicted in just 2.5 minutes of preview footage! needless to say, i saw the movie opening weekend, six months later, and left the theater feeling beyond satisfied. the movie was so visually innovative and different it was like i’d just witnessed julie taymor–the director-slash-visionary best known for broadway’s “the lion king”– reinvent the very concept of movie a little bit.

i then proceeded to tell all my friends they should check it out, and even posted the preview on facebook. i was somewhat startled to discover the incongruent presence on the movie’s otherwise fairly unimaginative site of a special link that allows for easy one-stop posting of the preview directly to facebook. either this was incredibly nuanced forethought, or obviously tacked-on afterthought, i figured.

last friday, the LATimes weighed in on that debate, asking: Is this the next cult sensation? as you may have noticed, across the universe is a musical about teenagers. and while the plot-line is punctuated by beatles’ tunes, the fact that this coming-of-age movie didn’t find an audience with middle-aged boomers, who were part of the original “beatlemania,” apparently came as a marketing newsfalsh:

To judge by “Universe’s” trailer, which began screening in front of “Spider-Man 3” in May, it wasn’t immediately clear which genre “Universe” belongs to. Is it a coming-of-age story? A rock opera á la “Moulin Rouge”? A surrealistic period piece? (Answer: all the above.) Worse for marketers at Sony, the film’s distributor, contractual obligations bound them from hitting home with “Universe’s” primary selling point.

“Yoko Ono, Paul [McCartney], Ringo [Starr] and [George’s widow] Olivia Harrison were all supportive of the film, but I couldn’t use the Beatles name in any advertising,” Taymor recalled. “That didn’t make things easy. And you can’t advertise that you have Bono, Eddie Izzard and Joe Cocker in cameo roles. We didn’t have a real big push from Sony; they were stumped by it. So nobody was really sure who the film’s audience was.”

i’m ten years older than the median teen-movie demo–but on the tail end of recovery from the quarterlife crisis the concept of trying to figure out life in a conflicted, confusing, “changing world” still feels totally relevant–and that’s, i think, the cutoff point for the audience to be marketing coming-of-age tales to.

After an uninspiring opening last month… help arrived in the form of an audience whose parents were their age when the first wave of Beatlemania hit. After three weeks in theaters, the PG-13 movie finally penetrated the top 10 by connecting with a zealous core constituency: teenage girls.

….According to Paul Dergarabedian, president of the box-office tracking firm Media by Numbers, audiences are now finding their way to “Universe” thanks to Sony’s textbook execution of what is known in the industry as a “platform release.”

“Expectations were unknown. But Sony has handled it perfectly. They got big initial interest in limited release, then they’ve been capitalizing on that every week.”

“They’re taking their time. On a movie like this, that’s what you have to do.”

so… like, besides the fact that the movie’s supercute cast is totally perfect bedroom-wall poster material, and that this “60’s story” is retold with acutely contemporary (and boomer-anachronistic) sensibilities…. did, um, no one at sony bother to check if maybe teenagers might not actually totally dig the beatles, at some point before they released the movie?

three and a half years ago (maybe somewhere around the time taymor got this funny idea for a musical) USA today reported:

Beatles historian Martin Lewis began spotting a young wave of Fab Four fanaticism as emcee of Beatlefan conventions the past 14 years. Boomers constituted half of the audience in 1990. Now 75% of attendees are under 30, and many barely in their teens.

As marketing consultant for The Beatles Anthology, he met with label execs plotting campaigns targeting fans 45 and up. “I’ve got news for you,” Lewis told them. “I’m the oldest guy at Beatlefan conventions.”

Sure enough, a marketing survey showed that the under-30 constituency scooped up 40% of the first Anthology run. “I’ve interviewed those kids,” Lewis says. “I’ve said, ‘Surely you’d rather listen to Justin Timberlake. Why are you here? Were you forced by your parents?’ But they chose to be there.”

the relative “drought” in contemporary rock (“Kids don’t come in and say, ‘I want to play like John Mayer,'” says a manhattan producer and guitar teacher quoted in a feb. 2006 article in rolling stone called “teens save classic rock“), multiplied by the internet’s universal ease of access to music of all decades, means you better do your homework about whom to target with your alleged “primary selling point,” yo. (even hiphop’s got love for the fab four as evidenced by wu-tang’s becoming the very first group EVER to legally sample the Beatles (!!?!)–sooooo… THAT happened.)

…anyway:

While Dergarabedian heaps praise on the marketing plan, Taymor feels the movie has benefited from a kind of benign studio neglect. “In a funny way, young people found the movie because it wasn’t marketed huge,” she said. “Young people don’t want to be dictated to about what’s the new cool thing.”

…. “We gave people the sense that they’d discovered it for themselves,” said Valerie Van Galder [the division’s president of domestic marketing].

i am sure that beyond classic rock’s sheer novelty or vintage cred, for the current crop of teenagers, its appeal likewise stems from the satisfaction in the personal discovery. this is a sense that is simply not possible to generate through mainstream teen-targeted music options. (wait… did classic rock just turn into alternative rock? wow. bizarre.)

i’ve written before about how valuable sustaining a sense of mystery can be for a brand, and it applies to the process of its initial discovery as well. whether sony was just hedging their marketing dollars on this weirdo bet of a movie, or whether they actually had the temperamental teen psyche aaaaall figured out reverse-psychology stylie when they eschewed spending money on any TV commercials, billboards, or PR, i think there’s something to be learned from across the universe’s model–accidental or not–that can be applied to a more deliberate kind of “discovery strategy”:

  1. start with something unique. you can’t really capitalize on a “discovery strategy” if the product won’t actually FEEL new or unexpected. (of course, a “discovery strategy” isn’t really the kind of thing that well-established fare needs to pursue in the first place, so it’s the unproven stuff to which this sort of option is most applicable anyway.)
  2. understand who the appropriate audience is and the communication / media channels they use that are particular to them. even if what you’re marketing is not a pop property but its message is disseminated through one-size-fits-all media, it invalidates the personal intimacy of discovery. a caveat in this case is using mass media to broadcast a message that will only really be meaningful to a particular community, but why do that when instead you can…
  3. provide the tools for people to be able to easily distribute the message themselves. a handy little “post to facebook” button helps, but so would have the option to get the embed code for the preview so that people could post the video to myspace and their blogs and wherever else that wasn’t just facebook. (nuanced forethought, or obviously tacked-on afterthought, right?)
  4. go on TRL.

and in case you’re wondering, this is NOT a “viral campaign.” the difference is between a ploy to abuse some unfortunate loophole inherent in ADD for an attention-spike, and a strategy to enable the creation of a meaningful, personally-compelling discovery that leads to a lasting (consumer) relationship.

from the LATimes:

Nicole Sacharow, 15, from Culver City, for one, ranks “Universe” among her “favorite movies ever.” She’s seen it twice and would already have notched up several more viewings were it not for scheduling conflicts with her friends.

“You go up to a group of people and say, ‘Who wants to see “Across the Universe” this weekend?’ ” Sacharow explained. “The songs are addicting. Everyone who goes to see it has the soundtrack. I listen to it every day. I hear people singing the songs around school.”

i’d say the movie has the potential to become this decade’s RENT (the war allegory standing in for the 90’s AIDS nemesis.) with wu-tang paving the way on beatle’s rights clearance, i could easily see a broadway version of across the universe in the future. but where could they find a visionary, multi-Tony award-winning director to–oh!

uh… never mind.

    



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non-definition as a defined identity

The goal of all human activity can’t be reduced to the leaving of descendants. Once human culture was firmly in place it acquired new goals.
– Jared Diamond, The Third Chimpanzee

right as i was in the process of rereading the third chimpanzee (i had to read it in college for sociobiology, and recently realized i’d forgotten half of it), a friend of mine forwarded me this NYmagazine article, The Cuddle Puddle of Stuyvesant High School. “it’s very interesting in terms of trend ideas and stuff,” he told me. “i thought of you.”

the article follows a particular clique of kids (primarily girls) up at NYC’s stuyvesant high school, a magnet public school for some of the city’s créme de la créme teens (similar to my high school alma mater, boston latin). i read this piece in the same week as the NYTimes feature on the girls of newton north high (a suburb right outside of boston). the article was called For Girls, It’s Be Yourself, and Be Perfect, Too. it’s funny that i read these two articles in such proximity, because they actually came out within two months of each other and couldn’t be more divergent in what they present as the focus of the elite-educated, east coast, teenage girl experience.

the NYTimes says:

To spend several months in a pressure cooker like Newton North is to see what a girl can be — what any young person can be — when encouraged by committed teachers and by engaged parents who can give them wide-ranging opportunities.

It is also to see these girls struggle to navigate the conflicting messages they have been absorbing, if not from their parents then from the culture, since elementary school. The first message: Bring home A’s. Do everything. Get into a top college.

The second message: Be yourself. Have fun. Don’t work too hard.

….If you are free to be everything, you are also expected to be everything. What it comes down to, in this place and time, is that the eternal adolescent search for self is going on at the same time as the quest for the perfect résumé.

two months earlier the NYMagazine article presented the findings of its own investigation into the workings of the contemporary teen female search for self:

Alair is headed for the section of the second-floor hallway where her friends gather every day during their free tenth period for the “cuddle puddle,” as she calls it. There are girls petting girls and girls petting guys and guys petting guys. She dives into the undulating heap of backpacks and blue jeans and emerges between her two best friends, Jane and Elle, whose names have been changed at their request. They are all 16, juniors at Stuyvesant. Alair slips into Jane’s lap, and Elle reclines next to them, watching, cat-eyed. All three have hooked up with each other. All three have hooked up with boys—sometimes the same boys. But it’s not that they’re gay or bisexual, not exactly. Not always.

while the “amazing girls” of newton north (it’s what their teachers and classmates call them) talk about lives overwhelmed sometimes to the point of nervous breakdown by the amount of work all their accelerated classes and extra curriculars demand, education is put into a completely different context by the girls of stuy’s cuddle puddle: because of their school’s superior education, one of the girls says, the students are more open-minded.

just as the intense academic pressure that is the focus of the NYTimes article is barely assigned an impact in the after-school lives documented by the NYMagazine article (“Sure, they drink and smoke and party, but in a couple of years, they’ll be drinking and smoking and partying at Princeton or MIT. They had to be pretty serious students to even get into Stuyvesant, which accepts only about 3 percent of its applicants.”) sexual identity exploration is completely brushed aside in the lives of the newton north girls.

This year Esther has been trying life without a boyfriend. It was her mother’s idea. “She’d say, ‘I think it’s time for you to take a break and discover who you are,’” Esther said over lunch with Colby. “She was right. I feel better….. I never thought, ‘If I don’t have a boyfriend I’ll feel totally forlorn and lost.’ My girlfriends have consistently been more important than my boyfriends. I mean, girlfriends last longer.”

just to be clear, that’s “girlfriends” in a completely platonic sense, but the sentiment is at least the one bit of common ground between these two seemingly wholly divergent worlds. “Relationships are a bitch, dude,” says Alair, the 16-year old “punk-rock queen bee” of the NYMagazine piece. relationships also play a huge role in the process of defining one’s sexual identity, and they seem to be going out of style.

while the gauntlet of college acceptance is now more competitive than ever, i think the process of navigating sexual identity has now likewise become infinitely more complicated. and for the latter there is no standardized test prep-course.

from NYMagazine:

These teenagers don’t feel as though their sexuality has to define them, or that they have to define it, which has led some psychologists and child-development specialists to label them the “post-gay” generation. But kids like Alair and her friends are in the process of working up their own language to describe their behavior. Along with gay, straight, and bisexual, they’ll drop in new words, some of which they’ve coined themselves: polysexual, ambisexual, pansexual, pansensual, polyfide, bi-curious, bi-queer, fluid, metroflexible, heteroflexible, heterosexual with lesbian tendencies—or, as Alair puts it, “just sexual.” The terms are designed less to achieve specificity than to leave all options open.

the irony in this, of course, being that the very IDEA that “sexuality doesn’t have to define me” itself comes to define a particular identity. a particularly modern kind of identity that previous generations are ill-equipped to understand what the hell to do with.

“My mom’s like, ‘Alair, I don’t understand you. I want to be a parent to you but I have no control at all . . . As a person you’re awesome. You’re hilarious, you entertain me, you’re so cool. I would totally be your friend. But as your mother, I’m worried.’ ”

“To some it may sound like a sexual Utopia,” says the NYMagazine article. “Where labels have been banned and traditional gender roles surpassed, but it’s a complicated place to be.” it’s one thing to grow up in the suburbs, discover your personal non-status quo sexual identity, and move to some open-minded metropolitan place where you can create a community around this shared lifestyle-identity. it’s quite another to grow up in an environment where the very definition of sexual identity itself is the status quo you’re rebelling against. and though manhattan may be an island it is by no means isolated in this respect.

The Stuyvesant cuddle puddle is emblematic of the changing landscape of high-school sexuality across the country. This past September, when the National Center for Health Statistics released its first survey in which teens were questioned about their sexual behavior, 11 percent of American girls polled in the 15-to-19 demographic claimed to have had same-sex encounters—the same percentage of all women ages 15 to 44 who reported same-sex experiences, even though the teenagers have much shorter sexual histories.

….It practically takes a diagram to plot all the various hookups and connections within the cuddle puddle. Elle’s kissed Jane and Jane’s kissed Alair and Alair’s kissed Elle. And then from time to time Elle hooks up with Nathan, but really only at parties, and only when Bethany isn’t around, because Nathan really likes Bethany, who doesn’t have a thing for girls but doesn’t have a problem with girls who do, either. Alair’s hooking up with Jason (who “kind of” went out with Jane once), even though she sort of also has a thing for Hector, who Jane likes, too—though Jane thinks it’s totally boring when people date people of the same gender. Ilia has a serious girlfriend, but girls were hooking up at his last party, which was awesome. Molly has kissed Alair, and Jane’s ex-girlfriend first decided she was bi while staying at Molly’s beach house on Fire Island. Sarah sometimes kisses Elle, although she has a boyfriend—he doesn’t care if she hooks up with other girls, since she’s straight anyway. And so on.

the article asks the question, how will this teenage experimentation eventually affect the way they choose to live their adult lives?

and i’m wondering how will it affect the way marketers talk to them?

a couple of months ago there was a bit of talk going on about Levi’s “Innovative Gay Marketing Move,” where levis produced two different versions of the same ad, one for a straight male audience, and one for a gay one. while the gay version premiered exclusively on MTV’s Logo network, whose programming is aimed at the gay community, the actual “innovation” in this dual-ad strategy that everyone latched on to seems to be simply the fact that the gay community was acknowledged at all on their own terms side by side with an approach to the straight demo. (so that only took about 40 years). levis, essentially, letting everyone know that they’re hip to the differing desires of these two identities as defined by sexual orientation. congratulations.

the question now is: how do you approach an identity that is defined not by gay or straight or even bisexual, but by its shared distaste for defining its new hybridity in those binary terms at all?

    



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even more queer once you’re used to it

image

this weekend was the 27th annual sunset junction music festival, a kind of cross between oldskool urban summertime carnival and indie rock block party. think: stale cotton candy and amusement park rides, local shops and art galleries trapped in the warpath shelling beer, dancing in the streets to mobile soundsystems, and the major stages blaring serenades by such haircut stalwarts as she wants revenge, autolux, blonde redhead, hot hot heat and so on.

sunset junction is the most fun you can have at a locally nurtured street festival tradition south of pink saturday in san francisco, which, if you haven’t been, is a complete free-for-all of music madness and making out that takes place the saturday night before san francisco’s gay pride parade every year. which is kind of a good segue to where i’m heading with this entry. because what struck me the most about this year’s sunset junction had nothing to do with the music (at least not directly). about half an hour in, i thought i saw something that no former san francisco resident has any right to get confused about: two straight guys holding hands.

this wasn’t some 4 am e-puddle at a rave cir. 1998. this was around 6 pm on a sunday afternoon in 2007, and while queer eye for the straight guy had mainstreamized the revolution in gay-straight male relations, metrosexual had become a house-hold word, and looking stylish was now par for the course for any sophisticated urban male, there’s still one thing that straight guys simply do not do as a fashion statement, and that’s hold hands.

yet “straight guys holding hands” was the first thing that instinctively passed through my mind. followed immediately, of course, by knee-jerk confusion: that’s not….right…. so then…. what the fuck?

the problem was that they didn’t look gay. not that there’s a certain kind of way that gay guys look that straight guys do not, but rather there are definitely certain ways that straight guys look that gay ones wouldn’t–or at least… there used to be.

what threw me off was that this seemingly-straight hand-holding couple were wearing plaid shorts that looked like swimming trunks found in a florida retirement home, and were sporting sloppy 60’s style columbia-university protester haircuts–the kind that 40 years ago just sort of grew out on their own, but today are no doubt cultivated under the careful attention of a hairdresser to look appropriately “period” vs. “politically active.” essentially, they were dressed like guys dressed before any kind of particularly gay aesthetic EXISTED, when less than 25% of men’s apparel was bought by men anyway. women used to buy 75% of it. (and you can imagine who was buying that other 25, right?)

for the rest of the night i kept seeing the same story repeated: all kinds of gay couples that didn’t look gay aside from the the fact that they were hardcore making out. (true story: at one point, towards the end of the night, when the real minority at sunset junction had become the sober people, one of a trio of guys walking in formation with their arms around each other’s waists backed up into me, and hiccuped, “oh! a girl! where’d they come from?” and i realized i was indeed hard-pressed to find an answer.) there were even mexican dudes in big white t-shirts and shaved heads going at it, that you know blast the radio when down’s “lean like a cholo” comes on. on a sidenote: do people outside of calexico even know what reggaeton is? after a while you start to go a bit blind to the contours of local culture’s idiosyncrasies when they are so prevalent….perhaps this is what has also been going on in the expression of gay identity as well.

one of the things that virtually all my gay friends have in common is a professed dislike of other “gay guys.” which is pretty telling of a major generational rift in the gay community.

the generation coming of age in the 70’s, in the wake of stonewall fought first and foremost for the rights of their community. the chant was “we’re here. we’re queer. get used to it.” the assertion of an individual gay identity, one that has the luxury to be vague, and even profess distance from the rest the gay community, is one that was only achieved through decades of pre-will and grace civil rights struggles.

in a 2005 article from the NYTimes style section, sensibly titled “Gay or Straight? Hard to Tell” bruce pask, the style director of cargo magazine, talked about why especially younger gay men don’t want to feel or look that different: “They didn’t need to assert their place in society, their right to be who they are. They’re not fighting for visibility. We got it; they don’t need it.”

perhaps that’s the issue my gay friends have with the established gay community: they do not feel that this community which is primarily defined by sexual preference is a viable forum for expressing their individual identity.

“if you can hang out with your straight buddies and be part of the group,” said brendan lemon, the editor of out, in the NYTimes article, “why would you feel the need to look different as an assertion of identity?” lemon suggested that for a generation that grew up watching “The Real World” on MTV, in which the gay and lesbian characters were no more or less flamboyant in dress or persona than their straight counterparts, being gay carries neither the stigma nor the specialness it once did. that, he said, has also altered the landscape of men’s style.

“it’s easier for gay men to come out of the closet as slobs, just as it’s easier for straight men to be dandies.” said lemon. “one of the things that’s breaking down how gay guys are seen is that people know more kinds of men who are gay.” but this dissolution of any one gay sensibility seems to be developing not just from the way in which the outside world sees gay men, but from the way gay men themselves want to be seen. as individual as any straight people would consider themselves from the rest of the “straight community.”

in a certain sense, even the breeders have been affected by the coming out of a whole generation. claims that the gay agenda to turn even the straightest of the straight gay by using the media to subliminally refashion their very notions of what they find attractive in women to resemble a male figure aside for the moment, this is the lifestyle that invented the CONCEPT of an “alternative” lifestyle (as opposed to simply a “counter-cultural” rebellion). it set the precedent. as all the rest of us participating in the greater culture now likewise face the burden of defining our own identities (whether we’re conscious of it or not), we all sorta ended up becoming queer…

and wouldn’t you know it, as soon as we did, they just turn around start lookin’ straight.

bastards.

    



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have you ever tried not being a mutant?

one of my favorite movie moments of the past decade has got to be that moment in x-men 2 when iceman and the rest of the teen mutants are hiding out at iceman’s house and his mom asks, him “have you ever tried….not…being a mutant?” like it would just solve everything.

i went to see the movie with a whole posse of my best friends, and was sitting next to one who happened to be gay, and he burst out laughing. i mean the whole theater was laughing, but it was even more pointed coming from sean. the question was the kind of thing that no doubt many a gay kid has had to endure from their parents, “well, have you ever tried… not… being gay?”

i think in general we like to assume that there are lifestyle choices we make, like listening to rockabilly, driving a harley, polyamory, veganism, white supremacism. and those we don’t, like what socioeconomic class we’re born into, our skin color, our gender, whether we’re good at math, and who we fall in love with.

technically, now more than ever before the once-immutable attributes of identity are becoming a choice. even those options that we did not pick for ourselves, that are dictated by genetics, hormones, or circumstance, are being challenged by the dissolution of outdated conventions and advancements in modern surgery. in a sense it’s almost like if you happen to have been born a straight female, and are still happy to be one, then it’s almost like it was a choice by the sheer act of compliance, if nothing else, when you take into account the varieties of gender and orientational mashups available these days.

i read dana boyd’s essay yesterday on “Viewing American class divisions through Facebook and MySpace” about the lifestyle segregations that seem to be emerging from the user adoption pattern of the two sites, and what really struck me was the following:

Most teens who exclusively use Facebook are familiar with and have an opinion about MySpace. These teens are very aware of MySpace and they often have a negative opinion about it. They see it as gaudy, immature, and “so middle school.” They prefer the “clean” look of Facebook, noting that it is more mature and that MySpace is “so lame.” What hegemonic teens call gaudy can also be labeled as “glitzy” or “bling” or “fly” (or what my generation would call “phat”) by subaltern teens. Terms like “bling” come out of hip-hop culture where showy, sparkly, brash visual displays are acceptable and valued. The look and feel of MySpace resonates far better with subaltern communities than it does with the upwardly mobile hegemonic teens. This is even clear in the blogosphere where people talk about how gauche MySpace is while commending Facebook on its aesthetics. I’m sure that a visual analyst would be able to explain how classed aesthetics are, but it is pretty clear to me that aesthetics are more than simply the “eye of the beholder” – they are culturally narrated and replicated. That “clean” or “modern” look of Facebook is akin to West Elm or Pottery Barn or any poshy Scandinavian design house (that I admit I’m drawn to) while the more flashy look of MySpace resembles the Las Vegas imagery that attracts millions every year. I suspect that lifestyles have aesthetic values and that these are being reproduced on MySpace and Facebook.

i’ve heard sooo many people that fit danah’s demographic description complaining about the “sub-par aesthetics” of myspace, but it never even occurred to me (and certainly not to them) that perhaps these reactions to visual composition were not really their own, but rather determined by the aesthetics of their lifestyle/background.

even if it’s possible to justify conscious identity/lifestyle choices as deliberate, how the hell do you justify the UNCONSCIOUS ones that way? and just how many of the choices we think we’re making for ourselves are actually predetermined in this unconscious way?

i’ve found that an easy way to explain how identity marketing functions is through the example of the clothing styles people choose. there’s so many styles of clothing you COULD be rocking, and yet you choose the kind clothing you choose, and not ALL the other styles. so…why is that? because you feel that this particular style expresseses something about who you are to other people.

so clothing is a tool for expressing our identity, essentially but who we want to sleep with is determined by biology? perhaps neither of these is this cut and dry. my bioanthropology professor used to say, “everything is 100% nature. and 100% nurture.”

so what about our choices about whether or not we like hardcore drum ‘n bass or reggaeton or sex and the city or tofu?

is our “taste” 100% our own, and 100% not our own?

now…. who likes bon jovi?

    



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