Postmodern Hysterics: Playing with the Virginity Card
On October 10, 2002, the “Women in Rock” special by music’s front running magazine, Rolling Stone,1 proved controversial. There were complaints and accusations as to the choices made. Joan Jett, with Maya Price’s encouragement, posted a complaint on her website for the short shrift she had received. The intergenerational argument highlighted some of the concerns with the postfeminist milieu. The intention in this chapter is not to sort out these complaints, nor to deconstruct the article; rather, to think through the fantasies that have emerged with this new generation of young women within the context of post-Oedipalization. Britney Spears, who topped RS’s list, and a whole host of similar but differentiable teenage and twenty plus something superstar singers have come into their own. These include the (former) Spice Girls (Sporty, Ginger, Posh, Scary, and Baby), Shakira, Christina Aguilera, Kylie Minogue, Atomic Kitten, Wonderwall, Jessica Simpson, Mandy Moore, Willa Ford, and Jennifer Lopez.2 The signifiers / girlie / and / gurl / are a useful way to differentiate the younger teens from their older 30-plus divas. Some of these stars were raised listening to the Mother of all girlie-gurlz—Madonna (who paradoxically stopped being their Mother when she herself became a mother); others claim no such influence or allegiance. All appear, at first glance, to fail in meeting the challenge of feminism’s lowest common denominator of a political agenda—to achieve equality among the sexes—by packaging femininity through media hype.
KeywordsSexual Satisfaction Sexual Agreement Symbolic Order Entertainment Industry Song Lyric
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