a division of the Chersonian Institute

Category: Scholarship In Action (Page 10 of 17)

Ben Folds, The Conjuring, Cory Monteith and Zine Show

ConjOur landlord called last weekend. He needs to move back into our house. So this means I'll need to spend the next month or so seeking shelter, packing and moving. I'll be MIA for a while.

But before I go I'd like to cover a few odds and ends.

 

Finn Hudson, RIP

I was horribly sad to hear of Glee-star Cory Monteith's death from an overdose at the impossible age of 31. I love that show and couldn't help but feel its positivity and bubble of perfectness extended to its stars' lives. Considering what Cory's co-star and girlfriend Lea Michele must be going through right now, it's hard not to think of the stress and worry Cher probably must have felt back in 1976 and 1977 when she was married to Gregg Allman. Living with an addict, the possible outcomes must haunt you daily. It's probably no minor miracle Gregg Allman is still alive today. Unfortunately, Lea Michele was not spared in this regard.

Scary Movies

In 2011 I used this blog to post an open letter to the horror movie industry. I'm happy to say they fullfilled my request with the movie The Conjuring. This old-fashioned haunted house movie scared the bejesus out of me last week. I loved the performances, the back story, the inter-cutting of scenes…all of it: top notch. Plus a plethora of early 1970s sets and parphernalia! Both scary and fun.

Cher Zine

Just as Cher has been spending time performing in Russia over the last year, Cher Zine also made an appearance there, at the ZineShow in Ukraine.

Cherzine1

I'm sure my celebrity scholarship fit right in with the underground political screeds and punk zines.

Ben Folds Five and The Cher Experience

Finally, my iPod shuffle served up one of my favorite Cher-referencing songs that probably doesn't realize it references Cher, Ben Folds Five's song "Best Imitation of Myself." Ben Folds may not realize this song is about Cher, but it is. I've made one slight alteration in the lyric to solidify the simpatico.

I feel like a quote out of context
withholding the rest
so I can be free what you want to see.

I got the gesture and sounds,
got the timing down.
It's uncanny, yeah you'd think it was me.

Do you think I should take a class
to lose my (Elvis) accent?
Did I make me up
or make this face til it stuck?
I do the best imitation of myself.

The "problem with you" speech
you gave me was fine
like the theories about my little stage.
And I swore I was listening
but I started drifting
around the part about me acting my age.

Now if it's all the same
I've people to entertain.
I juggle one handed
do some magic tricks and
the best imitation of myself.

Maybe I'm thinkin myself in a hole,
wonderin who I am when I outa know.
Straighten up now time to go
fool somebody else,
fool somebody else.

Last night I was east with them,
west with them,
trying to be for you what you want to see.
But I can't help it
With you the good and bad comes through.
Don't want you hanging out with no one but me.

And if it's all the same
it comes from the same place.
If my mind's somewhere else
you won't be able to tell.
I do the best imitation of myself.
Yes, it's uncanny you see.
You'd really think it was me,
the best imitation of myself,
I do the best imitation of myself.

That's all for now. I'll write when I can.

 

The Great Women of 70s TV

Chernow
Mtmnow 
Carolnow  

 

 

 

 

 

 

 

Mr. Cher Scholar and I gave up cable a month or so ago. We were being overcharged and getting fewer and fewer channels from Direct TV. Meanwhile, they've been calling me twice and day and leaving blank messages on my phone. Not cool dying-TV-service, not cool.

Without cable, I decided to watch all my 7 seasons of The Mary Tyler Moore Show. At the same time, Mr. Cher Scholar (formerly a French scholar) and I were finishing up reading Proust's seven installments of In Search of Lost Time. I started to think about those amazing women of 1970s TV on CBS: Cher, Mary Tyler Moore and Carol Burnett. In a Proustian-like effort of obsession, I came up with a list of interesting connections and comparisons.

It Was the Decade of the TV
Woman


Ss-110519-cher-01.grid-6x2 
Mtm
Carol 

 

 

 

 

 

 

 These three women couldn't seem more different physically or characteristically.

Their presences as TV women:

  • The Sonny & Cher Comedy Hour ran from August 1, 1971 to May 29, 1973
    (3 seasons);
    The Cher Show
    ran from February 16, 1975 to January 4,
    1976 (1 season);
    The Sonny & Cher Show
    ran from February 2, 1976 to
    March 11, 1977 (1 season).
    Cher was on for a total of 5 seasons.
  • The Mary Tyler Moore Show ran from September 19, 1970 to March 19, 1977 (7 seasons).
  • The Carol Burnett Show ran from September 11, 1967 to March 29, 1978 (11 seasons!)

All their shows ended around 1977 or 1978.

There Were Men Behind These Women


Sonnyc

Mtmgrant
Caroljoe

 

 

 

 

 

 

 

All these women were receiving significant support from their husbands behind the scenes, more support than the public probably knew.

Cher has described Sonny as her Svengali; he controlled the Sonny & Cher shows. Mary Tyler Moore's husband, CBS executive Grant Tinker, created and controlled her show and ran the production company bearing her name. Carol Burnett's husband was her variety show's producer, Joe Hamilton. According to her biographies, she might have been the most independent of the three. Mary Tyler Moore and Cher both describe their time with their husbands as a period of stunted
growth where they willingly allowed themselves to be "taken care of" by their business-savvy husbands. Both of their husbands had assertive, if not dominating, personalities and Cher and Mary Tyler Moore have both described themselves as obedient. Both Cher and Mary Tyler Moore also described
themselves as having a low level of confidence.

All women eventually divorced their husbands but remained, more or less, friendly with them. Mary Tyler Moore and Cher often give credit to their ex-husbands for their prominent success in the 1970s.

Ironically, they went on to become the independent single women the public assumed they
already were.

They Had Enterprises

Both Cher and Mary Tyler Moore had
husbands who started enterprises in their names (MTM Enterprises, Cher
Enterprises).  Both Cher and Mary Tyler Moore had little to do with
their respective enterprises (Cher didn't even know about hers). Neither of them benefited much from their
enterprises professionally after they left their shows and their marriages.

They Come From Dysfunctional
Families

All thee women grew up in dysfunctional families with an alcoholic or
drug-addicted parent who was either rarely present, never present or otherwise emotionally unavailable.
Carol Burnett and Mary Tyler Moore describe feeling abandoned either physically or
emotionally by one or both of of their parents due to their parents' addictions.

  • Mary Tyler Moore's father was emotionally distant and her mother was an alcoholic.
  • Cher's mother suffered from depression and her father was a heroin addict who was never involved in her early life. His involvement in her adult life was problematic.
  • Both of Carol Burnett's parents were severe alcoholics unable to take care of her.

They Were All First Borns

  • Mary Tyler Moore was the oldest of three.
  • Cher is the oldest of two girls. She has a half-sister, Georganne, who she looked after as a child and as a teenager.
  • Carol Burnett is also the oldest of two girls. She also has a step-sister, Chrissy, who she looked after as a child and as a teenager.

Chrissy
Gorgeanne 

 

 

 

 

 

 

Both Cher and Carol Burnett helped raise their half-sisters and they remained close to their sisters as adults.

They Grew Up in Hollywood

  • Mary Tyler Moore was born in 1936 in Brooklyn
    Heights, New York. Her family moved to Los Angeles when she was 8 years old.
  • Cher was born in 1946 in El Centro, California. She was raised in Los Angeles.
  • Carol Burnett was born in 1933 in San Antonio, Texas. She was raised in the Hollywood area of Los Angeles by her grandmother.

All three women went to high school in Los Angeles.

Not All of Them Experienced Poverty

Mary Tyler Moore went to private school. Cher experienced a seesaw of poverty
and wealth, but it was poverty that most affected her. Carol Burnett experienced severe poverty. Mary Tyler Moore often describes herself as a moderate politically but seems to be more strongly conservative. Cher is staunchly liberal. Carol Burnett rarely speaks about her political beliefs but was the only one of the three to overtly support Women's Rights and the Equal Rights Amendment.

They Could Have Been Convicts

Mary Tyler Moore's grandfather told her she’d either end up on stage or in jail. Cher says if she hadn't been an entertainer, she would have been in jail.

Fred Silverman Had A Feeling About Their TV Shows

Show Facts:

  • All their shows were on CBS.
  • Both The Mary Tyler Moore Show and The Sonny & Cher Comedy Hour benefited
    from CBS Head of Programming Fred Silverman’s lone support and his desire to drive youth-oriented programming in the early 1970s.
  • Both Carol Burnett & Mary Tyler Moore had Paul Sand (my first TV crush) on their shows.
  • Mary Tyler Moore and Cher were both
    given personal votes of confidence by Lucille Ball.
  • Both Cher and Mary Tyler Moore did dance classes on their show's lunch hours.

Nobody Slept with Elvis

Mary Tyler Moore and Cher both express
regret for not “taking Elvis up on it.” Elvis called Cher
for a date in the 1970s and she was too shy to go through with it; Mary Tyler Moore was the only leading lady Elvis had whom he didn’t
sleep with. On Oprah, Mary Tyler Moore joked, “what was I thinking?”

But Were They Friends?

  • Cher and Carol Burnett were on each
    other’s shows and did friendly spoofs of one another.
  • Carol Burnett's daughter Erin and Cher's then-daughter Chastity were childhood playmates.
  • Carol Burnett was fan of The Mary Tyler Moore Show and provided a nice blurb for the recent book Mary and Lou and Rhoda and Ted.
  • Cher
    and Mary Tyler Moore were often described as “very nice.”

Did They Influence Each Other's TV Specials?


Dream
Soul 

 

 

 

 


After watching Mary’s Incredible
Dream
(1976), I believe this bizarre special (in its entirety) had a direct influence on Cher's segment, "Musical Battle to Save Cher's Soul Medley," from Cher…Special (1978). There are obvious similarities in the depictions of heaven and hell, both using similarly funky photographic techniques. As Jamie L. Weinnan commented on Mary Tyler Moore's special (but which could also be said about the Cher special): “TV could be pleasantly insane in the
70s.”

Mary's Incredible Dream was allegedly the first to feature Ben Vereen as a guest in 1976. He apparently became the ubiquitous guest. You can draw a line directly from that fact to his ironic portrayal in Bob Fosse's All That Jazz in 1979.

Compare Mary's performance (7:47 mark) of “Because
I’m a Woman” with Cher and Raquel Welch doing the song a year earlier in 1975. Mary Tyler Moore also sings "Let the Good Times Roll" and "Aflie" in her special.

Mary Tyler Moore, in my mind, is a very talented comedienne, more on the comedy mark than Cher. Carol Burnett is probably the broadest talent of the three. But neither Carol or Mary can "sparkle in the center" like Cher does (whether Cher's dancing, singing or in a skit). Cher has that sparkle of coolness the other two don't have.

Would someone please (Oprah maybe) get these three women in an room for an
interview about what it was like to be perceived (and so influential) as
independent women of the early and mid-1970s, in the midst of "women's
lib" (feminism's second wave), particularly since at least two of them
(maybe all three) didn't always feel so independent and/or feminist.

Can we make that happen? Anyone? 

 

What Should Celebrities Do with Fan Mail?

FanmailIs this photo staged or did Elvis really pour over his fan mail? 

A week or so ago, BBC News posted a story about how a bag of Taylor Swift's fan mail (complete with sparkles and glitter and gushing love from pre-teens) was found unopened in a trash bin. The story went on to say what a burden the thousands of letters from fans can be to a celebrity. Some hire people to read them. Some, like Ringo Starr, just tell us outright they will not be reading any more fan mail.

I don't know if Cher reads her fan mail. When I was eleven I did write an impassioned letter to both Cher (about an outrageous story I saw in The National Enquirer) and to Richard Simmons (about following my dreams). I actually received a very warm and personal response from Richard Simmons (which he probably dictated to an assistant) and an autographed photo from Cher. Years later in my late teens I wrote a rambling and incoherent letter to John Waite and received a postcard back. In each case, I felt a kind of nerd's remorse at having broken the fourth wall.

I really don't know what good can come of fan mail. Cher gets into the muck too much answering twitter questions, our modern way of trying to touch a celebrity. Although I feel Swift's office should have been more discreet with her fan mail, I don't really blame her for not reading all of it.

 

Best National Anthem Singers

CherIt’s Super Bowl Sunday this weekend and Alicia Keys is slated to perform the National Anthem.

OK! Magazine has just done a review of their favorite performances of the National Anthem: http://www.okmagazine.com/news/top-10-super-bowl-national-anthem-performances-cher-kelly-clarkson-carrie-underwood-more

Their list:

  1. Whitney Houston –1991—what a wowee that was. I bought the single cassette!
  2. Faith Hill—2000
  3. Kelly Clarkson—2012
  4. Jennifer Hudson—2009
  5. Carrie Underwood—2010
  6. Jordin Sparks—2008
  7. Mariah Carey—2002
  8. Cher—1999
  9. Beyonce—2004
  10. The Dixie Chicks—2003

Note the FOUR American Idol singers (three AI winners) in this top ten list. Cher’s inclusion is striking because she’s not the same kind of singer as the others (with the exception of maybe the country sangers). Many would make the case that she’s the weakest singer on the list (if you split vocal hairs about this sort of thing). I chalk up her inclusion on all these favorites listings to the fact that Cher has become, not only a real American idol, but a national treasure.

Rolling Stone magazine’s list: http://www.rollingstone.com/music/pictures/the-most-memorable-super-bowl-national-anthem-performances-20120130.

  1. Whitney Houston
  2. The Dixie Chicks
  3. Faith Hill
  4. Beyonce
  5. Cher
  6. Carrie Underwood
  7. Jennifer Hudson
  8. Aretha Franklin, Aaron Neville & Dr. John (in a New Orleans Tribute)—2006
  9. Garth Brooks—1993
  10. Mariah Carey
  11. Luther Vandross—1997

They say about Cher:

She left the Bob Mackie headdress at home, but Cher's throaty take on "The Star-Spangled Banner" still had the pop icon's unmistakable style – not to mention some impressive notes.

Rolling Stone, still hating on the idea of spectacle (at least when it occurred in the 1970s). Get over it, Rolling Stone!

The site The Week also posted their list recently: http://theweek.com/article/index/239018/the-10-greatest-national-anthem-performances-in-super-bowl-history

  1. Whitney Houston
  2. Luther Vandross
  3. Jennifer Hudson
  4. Cher
  5. Jordin Sparks
  6. The Dixie Chicks
  7. Beyonce (tie)
  8. Carrie Underwood (tie)
  9. Mariah Carey
  10. Vanessa Williams—1996

Their comments on Cher:

Cher can sing? Holy crap, Cher can sing! This was great. No complaints about Cher. The interpretive dancers were kind of weird, though. The Week's multimedia editor Lauren Hansen nails it: "Cher was surprisingly impressive, but like Mike Bloomberg with Lydia Callis, her spotlight was stolen."

Arbitrary diva rating: 90.4 percent Barry

This site also recommends Barry Manilow’s performance from 1984. I would heartily recommend his pitch perfect rendition. http://www.youtube.com/watch?v=A795MW-Qpow

I would also recommend Marvin Gaye’s brilliant and chill-inducing performance from the 1983 NBA All-Star Game: http://www.youtube.com/watch?v=QRvVzaQ6i8A

Marvin   

Cher Hits One Million Twitter Followers

ChercherThere have been some posts in the last week floating out itty bitty tid-bits of news about Cher's upcoming album. I have itty-bitty-news-about-Cher's-album fatigue myself. So until the damn thing apparates itself into my hands, I am not going to engage.

Dear Cher album, I'll talk to you when you get here. Until then, I'm shunning you.

To read the latest Cher album gossip visit Cher World or Cher News.

Other Cher news last week touted the fact that she hit one-million twitter fans recently. This kind of sounded like a big deal and so I researched the larger twitter-verse to see if this was in fact a big dealio.

It is not.

Although it has me beat by about a million, give or take one or two, it is not in fact that significant. According to the stats at Twitaholic, Cher does not even crack the top 1000 tweeters for followers. Yes, that's right. One-thousand tweeters have more followers than Cher does. It looks like this:

Top five are:

  1. Lady Gaga Gaga (with 30-freakin-million)
  2. Justin Bieber (29 mill)
  3. Katy Perry (27 mill)
  4. Rihanna (26 mill)
  5. Britney Spears (really?) (21 mill)

Obama has 20 million. Those with over 10 million include: Taylor Swift (19), Shakira (18), YouTube (18), Kim Kardashian (16), Nicki Minaj (14), Oprah (14), Justin Timberlake (14), Ellen DeGeneres (14), Twitter itself (13), Ashton Kutcher (12), Eminem (12).

Other lady pop-singers/celebrities at the top (in the millions): J-Lo (12), Pink (11), Adele (10), Alica Keys (9), Paris Hilton (8), Mariah Carey (8), Kloe Kardashian (7), Avril Lavigne (6), Beyonce (6), Jessica Simpson (5).

Sadly, the only news service at the top is CNN Breaking News with 8 million. Bill Gates is the top business leader with 8 million and the top spiritual guru is the Dalai Lama with 5 million.

To break the top 1000, you need to have 1,161,806 or more followers. So although the press loves to follow Cher's tweets, she's not in the top stratosphere of tweetdom.

Maybe some day she will be "trending."

 

Moonstruck over Mothers

CherandolympiaI finished ready The Unruly Woman by Kathleen Rowe and it has only one section of one chapter about Cher and the movie Moonstruck. But it's packed with goodies. Rowe does a study of many romantic comedies including It Happened One Night, Sylvia Scarlett, Bringing Up Baby, Ball of Fire and The Lady Eve among others. She singles out Moonstruck for many things, one being its inclusion of a mother-figure in a traditional romantic comedy.

She states,

"Comedy in mainstream narrative film usually makes its case against the father with very little attention to the mother or daughter. Comedy may deflate Oedipus and show him to be a fool, but it still places him at the heart of the story. Comedy is generally guilty of symbolic matricide. [The young woman, or bride, is seen as] a token of exchange between men [and] mothers rarely hold any power to transfer. [In] the subjugation of female by male [the girl] must sever the most important feminine identification in her life, her mother, for an exclusive attachment to a man, a stand-in for her father. Adrienne Rich [how serendipitous, I just did a profile of Rich yesterday in another blog] describes this rent between mother and daughter, ignored in our culture, as 'the essential female tragedy: we acknowledge Lear, Hamlet and Oedipus as embodiments of the human tragedy; but there is no presently enduring recognition of mother-daughter passion and rapture.'"

Moonstruck is an exception because it centers not only on Cher's character but her mothers: "Both are at turning points in their relationships with men."

"In contrast to the men, Moonstruck women have a clearer sense of who they are. Loretta is a paradigmatic woman on top, enhanced by the strong unruly off screen presence Cher brings to the part….she holds up her own autonomy as long as possible. In doing so, she follows the same course as the unruly virgins in the classical romantic comedies."

Rowe also discusses how the use of ethnicity serves the comedy, how the film uses ideas of death and life, she explicates the meaning behind character names and the symbolism of the moon.

WomenRowe also explains how the movie alludes to Puccini's La Boheme, particularly between the couples of Ronny and Loretta and Mimi and Rudolpho: the use of ordinary vs. mythic characters, the symbolic  scenes with snow, and some symbolic hand-holding moments. However, "Mimi dies…and Loretta remains a woman on top; while Mimi wastes away in isolation, Loretta will draw strength from….her mother and a community that extends beyond the couple."

Most importantly, "Loretta doesn't have to give up her mother to get her man."

This argument by Rowe enticed me to go over all the scenes between Loretta and her mother in the movie, and to realize how realistic they were to normal family relationships between mothers and daughters, the support, the nagging, the daily business of living, right down to the scenes of Loretta's mom serving breakfast in the kitchen.

Rowe ends the book by reminding us that unruly women, in Natalie Davis's words "widen behavioral options for women." She ends talking about Roseanne Barr Arnold (Just Plain Roseanne)…

"Her performance in front of the camera, marked so strongly with her presence behind the camera, is a reminder of the authorship inherent in the performances of other of other women—from Mae West to Cher—who, by making unruly spectacles of themselves, have also made a difference."

Another fan blog post for Moonstruck: http://www.triloquist.net/2012/05/my-love-of-moonstruck.html

 

This Is Cher, A Cher Zine #3 has been reviewed!

Zine3Back in 2005, Zine World reviewer Anu Schnuck called Golden Greats: A Cher Zine 2 “a must for Cher fans.” Australian zine-reviewer Dann Lennard of Betty Paginated and Zine World recently posted his latest reviews including one of Cher Zine 3 from the point of view of a non-fan.

 

"As a massive non-Cher fan, I still found a disturbing amount of interesting material to absorb. Like Cher’s tenure with Casablanca Records in the late 70s – including her flirtation with disco, heavy rock (with her band Black Rose), pioneering music videos and…Gene Simmons. Or the making of her obscure 60s hippie flick Chastity (which I somehow managed to see on an Aussie regional TV station when I was a kid). The lengthy piece on Cher’s infomercial career jumps the shark (nine pages…seriously?). But this zine did the near-impossible for me, it made me care about Cher. Hell, I may even pick up her Black Rose CD off eBay now."

I have to concede that the infomercial article is very long, but as the only Cher-infomercial defender out there, I had to make an airtight case for my argument. Besides, the Casablanca article is 17 pages long!

I am disappointed no one has made special mention of the racy Sonny centerfold.

For more info on Cher Zine 3: http://www.cherscholar.com/zine.htm

 

Chad Michaels Excels on Drag Race

Chad3Chad Michaels (far right) made it to the top three of Ru Paul’s Drag Race at the end of the season along with with Phi Phi O’Hara and Sharon Needles (middle, who won). It would seem there was no official second or third place on Drag Race this year.

I watched the entire season for the most part in three days last weekend. By far, Chad was the prettiest in most challenges, and in some challenges the only one to really get it right (see the inaugural ball challenge below).

He was thrown some shade for his age (being over 40), his plastic surgeries and (from judge Michelle Visage) for being too perfect and not messy enough. Ru Paul also challenged Chad at the end of the season to tap into his emotions more.

Chad did a pitch-perfect Cher send-up in the impersonation challenge fThreechersor the “Snatch Game” episode, which was a spoof on The Match Game show. See the animated gifs of the episode from “Of Coursets a Drag.”

Chad, Sharon Needles and Latrice Royale were my favorites. And if Chad was not destined to win, I’m glad it was Sharon.

Sharon Needles pushed the envelope, was witty and cute as a button in his scariness. He raised the competition to a level of performance art.

At the end Ru told Ch Sharonad he raised the level of the competition this season and was a real class act. Which was true: he played the adult in the room, the negotiator, the conversation starter, the mama of this den of bees, always trying always to stay above the DRAMA.

But he was in a real bind competition-wise because it was only in the moments of messy fighting that Chad was able to show that emotional side: fighting with Sharon’s icky hetero-drag-model, confiding in Sharon about Phi Phi’s treachery (on an Untucked episode), and crying when discussing gay marriage and when apologizing for being harsh on Phi Phi’s innocence/immaturity.

If he had showed too many of these moments, maybe he wouldn’t have looked so classy.

Chad1

I’m a huge fan of Drag U but this is my first full season watching Drag Race. This is because watching bitch-fights sometimes gives me high anxiety. But this season was exciting (Willem getting kicked off suddenly, the spectacle of the big finale) and emotional (drag queens crying) and also sometimes uncomfortable (the political challenge, the episode trying to drag out butch dads).

Latrice

Watch for Latrice on Drag U next month. Her blue boat/blue hair outfit killed me!

Latrice Royale
Chad Michaels
Sharon Needles

 

VH1 Has a New List of the 100 Greatest Women in Music

31In the year 1999, Cher was listed at #43 in between Sheryl Crow (44) and Dionne Warwick (42). Now it’s 2012 and she has moved up to #31 between Fantasia (#33) and Sade (#30).

What’s amazing about this is that she’s moved up over 10 spots even after the luster of 1999 and the single “Believe” have worn off.

Not bad for a woman who’s not very good at singing. (See Gregg Allman comment in previous post)

Some notable commentary:

Comedian BD Freeman: “I love Cher. Who doesn’t love Cher?” (The Allman clan)

Comedian Chuck Nice: “The 60s, 70s, 80s, 90s and the new millennium, she’s had something on the charts. That’s almost 50 years!” (That is actually 50 years)

Comedian Ari Voukydis: She’s not just part of music. She kinda is music.”

Tori Amos: “Cher has been able to show people that as she ages, she’s still sexy and sensual.”

Simon Doonan of Barnys NY: “The Cher legacy is ginormous.”

I can’t wait for the 2022 list! At this rate she’ll be #19!

 

More Cher Academia

I found another academic essay on Cher that came out in 2011: "Cher-ing/Sharing Across Boundaries" by Loran Masan. The synopsis of it is this: Cher’s multiple performances challenge the concept of a fixed or authentic originality for both gender and ethnicity. They are both performative identities. In other words, you aren’t either masculine or feminine; Black or Hispanic or Jewish as a personality (apart from heritage), you perform these identities culturally.

Some notable quotes:

“Peggy Phelan argues ‘the promise of feminist art is the performative creation of new realities.’ Cher’s persona, performances, and acting career are a microcosm through which to explore theories of drag, masquerade, and performativity, and to critically reapply them to ethnic performances in order to bring to light how this icon of popular culture challenges the myth of authentic or originary gender or ethnic identity and potentially creates new realities…Cher’s subversion comes not from individual performances of identities but from the shifting multiplicity of ethnic performances…the excessive femininities of her costumes and wigs’ identities that exposes the manufacturing of ethnic and/or gendered identities and rejects ideals of naturalness or authenticity…[and] creating incongruities by claiming many different naturalnesses.”

“…the particular disruption that Cher’s persona creates by refusing to ever settle on a solid authentic or original singular ethnic identity…[ex:] Both of Cher’s previous surnames are obviously ethnically marked [me: three of them are actually: Sarkisian, La Pierre, and Bono] and instead of changing them to some Americanized moniker she drops a last name altogether.”

“Mary Russo in Female Grotesques: Carnival and Theory, reclaims the idea of ‘making a spectacle out of oneself’ and maintains the spectacle of female masquerade by women creates unruly representations that can be transgressive, dangerous, and produce a ‘loss of boundaries.’ This loss of boundaries in masquerade is quite similar to that of drag…” 

“Neither Cher’s nor Cher drag queens’ feminine performativity can be read as natural. There is no original because the original is consciously performing herself. Cher’s feminine drag produces a subversion of authenticity.”

“The academic love affair with Madonna in relation to similar arguments about gender, unruly women, and racial or ethnic celebration frustrated me as I began to meld my love of Cher with my feminist ideals. Where were the academic theorizations of Cher’s persona and career? They are few and far between. “ 

Amen sistah.

Cher continually questions authenticity in various ways and THAT is the what the rock and roll elite really hates. Because they worship the pose of authenticity.  How well Cher sings is really irrelevant isn’t it? And I contend that Cher presents an “unruly woman” (in her costumes, her career choices, her conspicuous consumption) that is affront to what amounts to an essentially ridged and judgemental rock and roll establishment.

She’s truly too unruly for them.

 

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