Hairspray: The Politics of Transgender Performance from 1988-2007

‘The camp object can be created deliberately by an artist anxious to violate boundaries between the serious and the absurd’ (scott long 1983:80)[1]

A romantic, American musical set in Baltimore in the early 1960s, Hairspray follows the life of Tracey Turnblad, an overweight teenager whose ambition it is to dance on a local TV station, but she is held back from achieving her goals and securing the man she loves due to her size. However, over the duration of the film Tracey overcomes these obstacles to secure her ambitions, whilst simultaneously helping to fight to racial integration on the show. Transgender performances are used to evoke an array of feelings in the viewer ranging from the absurd and humorous to the sinister and uncomfortable. In both John Waters 1988[2] hairspray and Adam Shankman’s 2007[3] remake transgender peoples are used to play the role of Edna Turnblad, Tracey’s mother. The way in which Edna is portrayed varies greatly between the two films and in many ways her characterization is essential in emphasizing crucial motifs on which the film is underpinned. In exploring the use of transgender peoples to play the role of Edna I will compare the use of formal aspects in the opening scenes where she is ironing, analyzing how they are engineered in such a fashion as to give a very different reading of Edna and how the use of transgender peoples varies between the two.

In john Waters 1988 hairspray the role of Edna is played by Divine, a performance artist with whom waters frequently collaborated with in his more controversial cinematic endeavours such a Pink Flamingos and Polyester. Divine was little known and had only a small cult following. Those familiar with Divine’s previous roles will be aware of the ‘anti-normative gender politics’[4] (Suzanne woodward, pp 123) within her performance. Waters stating ‘I liked drag queens that made people nervous. I’m against family friendly drag queens’. Divine is obese and a large portion of her persona centres around the fact she is unwholesome, for example, in Pink Flamingos she is in competition to be the filthiest person alive, with the film ending on an infamous scene in which Divine eats dog faeces. In contrast to this is Adam Shankman’s casting of John Tavolta, a well-known, straight actor to play Edna is well-within the comfort of most audiences with his caricature of a women. One reason for this is that the audience cannot look past the fact that underneath the fat suit and dress it is very clearly John Travolta, there is no ambiguity. Whereas Divine lives as a drag queen and is not in a fat suit, but is her standard appearance. ‘The two portrayals of Edna, both highlight the importance of mannerisms and gestures, and of voice in constructing a feminine persona, whereas Travolta produces a parody of feminine stereotypes, while Divine invents a whole new version of femininity’.

When the audience is first introduced to Edna as played by Divine a close up shot of her hands ironing is shown. It is ambiguous as to whether these are the hands of a man or a woman, even as the camera continues to pan up her forearms to her chest and neck it is hard to distinguish. The way in which we pan up Divine’s body, from a low angle makes her appear to be larger and fill the entire shot, giving the impression that she is of great stature and is a powerful figure. In many respects the larger physical appearance of Travolta is also emphasized in our first introduction to him, as slipper shod feet on the end of thick calves enter the room. However, Travolta is presented as ungainly, but lovable and the audience is encouraged to sympathize with her. Divine on the other hand is presented as being slovenly and disgruntled. During this scene both Ednas’ request that Tracey turn down the television. However, Divine is cruel, making derogatory comments about her hair, whereas Travolta makes a remark in the same vein, but is much kinder in approach. Travolta is portrayed as a ‘gentle giant’, Divine is presented as being slightly malicious and resentful.

This notion of Divine’s power is further emphasized through the use of camera. In the scene where she is taunting Tracey about her hairstyle a low angle shot is used.  This adds a prominence to her jaw, increasing the sense of ambiguity about her gender and adding a further element of aggression to her characterization.

Divine’s make-up in the film offers no clues as to her gender. Her lipstick is smudged around her mouth and her eye make-up is messy. This adds to the general image of a disheveled and unclean character. However, in my opinion it is her drawn-on eye-brows that make her overall appearance so unpleasant.  The eyebrows are false, overtly mobile and are used to emphasize what she is saying in an intimidating manner. Their positioning is too far up the forehead and the stationary nature of the rest of her features adds a very sinister quality to her overall image. On the other hand Travolta’s make-up is understated, careful and motherly. It is clear from her curlers that she is making an effort and trying to do the best she can, whereas Divine appears to have little pride and is almost flaunting her grotesqueness. Kate Stables[5] suggests that ‘ Travolta’s cuddly drag act owes more to misses doubt fire, than Divine’s lovably freakish original portrayal. When he twirls girlishly around the yard, with Christopher Walken’s uxorious Wilbur Turnblad (…) he and his indulgent audience are reveling in a mainstream masquerade, without the slightest tinge of transgression.

The main room where Tracey is watching the corny Collins show and Edna is ironing is colorful and ornaments line the shelves in the 1988 film. Edna however, is dressed in dismal rags. Edna is juxtaposed with the rest of the room and the effervescent girls and is shown to be a dark and bleak presence. It is she who is irritable and bringing the girls’ fun to an end. This is further emphasized through the use of composition. In this scene Edna has asked the girls to turn the TV down and they have not listened, so she comes through to do it. The to girls are positioned in the foreground of the shot, colorfully clothed and happily dancing, while Edna approaches the doorway becoming an increasingly large and looming figure until she fills it, blocking out the light and casting the room into shade as she turns the TV off. In comparison in the 2007 film Travolta is dressed in a lilac dress, with matching slipper and curlers. The living room is painted in a dismal green/grey hue and Travolta thus becomes the source of color and breaks from the drabness. Not only that, but the camera follows Travolta from behind as he leans in the doorway to tell the girls to ‘keep it down.’ The doorframe is significantly larger than him and he only partially fills it. The way in which color and composition has been used in the original hairspray portrays Divine to be a darker, powerful figure who one is to be wary of, whereas Travolta is shown to be a brighter and safer figure, as achieved through the warmer color scheme of his dress and positioning within the frame and in comparison to the set.

In the 2007 remake the music on the television does not fluctuate in quality or volume when the shot moves from the corny Collins set to the television show on the set in their living room. This maintains a level of falseness and reminds the viewer that it is a stage set. Alternatively in the 1988 version the quality and volume of sound changes dramatically when the shot cuts from the live television studio to the living room.

This fractures the reality of the film diegesis and can be seen as putting a distance between Tracey and her dreams, with Divine standing between her ambitions and overwhelming the noise produced on the television by her presence until she eventually turns it off. Later on in the scene Penny’s mother arrives at the door. As Edna opens the door psycho style music plays and when she walks into the room a heavy base comes in with her. This creates a sense of threat a foreboding, uniting the two adults against the two teenage girls and further distancing Tracey from her ambitions. While in the 2007 remake, Edna is in sympathy with Penny, whilst inadvertently getting her into trouble. Due to the fact that the two women unite it enforces the fact that Divine is a woman to the audience as she sympathizes and for that moment bonds with penny’s mother, whereas Travolta’s siding with the girls, distances her from the other adult female, emphasizing the fact he is not a woman.

In many ways Divine’s performance both refutes and reflects what Warhol[6] stated when he wrote ‘When they took the movie stars and stuck them in the kitchen, they weren’t stars anymore- they were just like you and me. Drag queens are reminders that some stars still aren’t just like you and me.’ Divine is doing domestic chores, yet she is never going to be like a majority of the audience, whereas Travolta is a significantly closer representation of the average viewer in the sense that she is caring, hard-working and takes dignity and pride in her appearance and work. Divine is outrageously out-size from her appearance to her performance and to those who know of her, her private life. Divine transcends gender normative behavior in everything aspect of her being and therefore will always play a more over the top woman than a woman.

Waters was out to shock and entertain and his inclusion of a cult transgender person was designed to add an uncomfortable edge to the film. Shankman’s 2007 version was a more comfortable and sanitized performance designed for mainstream consumption. It is hard to overlook the fact that the audience that Travolta was not transgender. In having an actor who was so easy to recognize and laugh at, the serious issues in the film were somewhat overlooked and the more serious narrative and edginess was removed which in the first film was present due to the inclusion of Divine.

---

[1] Scott Long 1983:80, Suzanne Woodward, Taming Transgression: Gender Bending in Hairspray , new cinema, journal of contemporary film, 2012 pp. 116

[2] John Waters, Hairspray, 1988

[3] Adam Shankman, Hairspray, 2007

[4] Suzanne Woodward, Taming Transgression: Gender Bending in Hairspray , new cinema, journal of contemporary film, 2012 pp. 123

[5] Kate Stables 2007:58, Suzanne Woodward, Taming Transgression: Gender Bending in Hairspray , new cinema, journal of contemporary film, 2012 pp. 122

[6] Andy Warhol, The Philosophy of Andy Warhol: A to B and Back Again, Picador, 1975 pp. 55

The Evolution of Country, Alt.country and Indie Music

let's start at the very beginning... it is, after all, a very good place to start. 

Country music arose from the demanding life experienced by the working class in 1920s America, specifically the southern American states. Originally dubbed Hillbilly music it started in small rural communities oppressed by poverty and demanding physical work country sprung up to raise morale and bring people together. The 'first' country singer to gain any kind of recognition was Jimmie Rogers in the 1920s. Born in Mississippi Rogers created the 'Twang' associated with country music. His combination of blues and yodelling quickly caught on in the South. The appeal of country music then was its honesty and dedication to the old ways of life, where New York was now a glitzy social hot spot, in the South, yet to be connected by rail travel,  they didn't move so fast. Being poor and the underdog was part of Rogers star image and so many Southerners were able to relate to the honesty of his music that he had a fair amount of success, treading the way for new acts.

A major leap for country was taken with the opening of the rail ways connecting the rural South to the fast-paced New York. The train symbolized progress and opportunity, connecting people in the country with city men and the jobs they offered. Despite the new rush of trade and success country never drifted from its roots of poverty and pain.The authenticity and honesty of country music still remained popular. As the rail system grew its the sound of its chugging is reflected clearly the instrumental sections of many country songs as its steady beat created a good spring board into other melodies The next artist to take over the country scene was the Carter Family.

The Carter family were similar to a hillbilly-Vontrapp consisting of mother, father and children. There big break came in 1927 when they recorded 'the sessions' with, among other artists Jimmie Rogers. The Carter family were rising just as the boom of the 20s wall St crash happened and America was swept into a depression. At this time, heavily influenced by the low morale and poverty of the working classes, country music re-vamped itself into a more glamorous and showbiz affair, putting the dungarees and straw hats down to pick up tailored suits and polished shoes. Gene Autry led the way, cheering up those hit by the depression with his good-looks, voice and rebellious - answering to no one allowing him to became a big success and inspiring the next generation of glamorous country.

The Nashville - Hillbilly way. Country music gravitated towards Nashville where there was a large radio station and the Grande ole Opry where country artists sang and entertained the masses. The sound of country music began to evolve with the arrival of Bill Monroe whose sound; blues/grass/country combination without drums and electric instruments. Country maintained the glamorous image Gene Autry had initiated and continued to be performed by gentlemen. The costumes became more extreme and the country - Bumpkin look was dropped altogether.

Hank Williams is arguably the, if not one of the most significant figures within country music, Having 35 singles, 5 posthumously all placing within the top ten rankings and 11 at number one. Around in the 40s and 50s Williams represented the soul of country music, discussing broken relationships and his achy-breaky heart. He was of the old country music style and his authenticity gained him a massive following. Williams was a troubled man moving through the motions of depression, alcoholism and drug addiction as all great poets do, until dying age 29. The 50s represented massive social change for America as well as country music. Women started taking to the stage of the Grande Ole Opry. The first to do so was Kitty Wells whose popular songs redefined the overtly masculine nature of country music.

The oil boom brought out new acts such as Bob Wills and the Texas Playboys. They modernized the country sound further, introducing western swing, a combination of cowboy/blues/jazz. Costume also evolved moving into cowboy boots, slacks and swept back hair as country fashion approached the rhinestone era.

When the war came to an end in 1945 country changed direction again and Honky Tonk was born. Honky Tonk represented a post war, hedonistic lifestyle. With social change in motion young men and women would meet in bars and beer joints to flirt, dance and drink. People were rebuilding their lives after the depression and war thus, a more cheerful strand of country developed and Frank Williams was the man behind it. Singing songs like Hey good-lookin' and being young with a devil-may-care attitude Williams shot to success feeding of the new, excited America. Williams also started the rhinestone cowboy movement with the help form Nuddy Cone, the most famous cowboy costume designer around at the time.Williams along with Little Jimmy Dickens were the first in Nashville to get a swimming pool shaped as a guitar and traveled round in a custom car featuring pistols for gears and all the associated cowboy paraphernalia.

The mid 50s marked the arrival of Elvis Presley who redefined country, which up until then had been aimed at an adult audience with sexual liberation on the horizon Presley's pelvic thrusting and rock 'n' roll style brought in a teen audience.

What was now lacking was a female artist to gain notable success. Patsy Kline did this. Her style complied with the more traditional country sound, talking of tragedy and loneliness.

A fresh female voice was needed and this was Dolly Parton. Some believing her to be the last true country artist Parton was different from her other female competition, not singing of a men treating her badly, breaking up with her etc., but of her pride in being a woman. this independence and feminism was embraced by the 60s and her old country style made her a massive success having composed over 3000 songs in her lifetime and working on numerous collaborations with some of the biggest artists in the world. Nowadays there are new up and coming artists such as The Felice brothers and Josh T. Pearson who are more traditional in approach, using instruments associated with the old country music such as accordions, harmonicas and banjos. today country still continues to evolve with some electric groups springing up.

contemporary country; the evolution of sound - A demand for authenticity

Independent music, abbreviated to indie describes a sound with no fixed style as a result of artists within the genre being influenced by one another. The sound is fairly melodic with simple, but well textured instrumentals. Indie is produced by independent record labels due to its alternative nature not attracting a massive audience. As a result the primary audience of indie music tend to be people who don’t conform to mainstream society. In recent years indie has become associated with a much larger proportion of society- particularly teens. This has devalued the original intent of indie as an alternative style for those who truly relate to it. Nowadays being indie is mainstream. In recent years country music has recently begun to change its sound and image to appeal to a modern indie audience. In the 1920s when country was beginning to take off they assumed that only a narrow market of newly urban whites, would purchase it. Old time country was to be left as a commodified symbol of a fondly remembered past and place. It underwent a series of changes morphing from blues/grass to country western and country. This was to meet the demands of an ever-changing audience as social issues such as feminism, poverty etc. began to be tackled. Today there are several different categories of country music, varying on interpretation. These include; mainstream Nashville, folk, blues grass, gospel and alt. country. Nashville country is thematically the least cohesive of the categories; dominating the market as it represents a national symbol of America and thus, has to constantly reinvent itself to satisfy its ever-changing audience. Alt country is a mongrel breed, combining country, folk, and bluegrass with styles that are typically considered antithetical to the country tradition, like punk, indie, or garage rock. It has added an aggressive attitude and an anti-establishment spirit, adopting artists who have previously been unsuccessful in the Nashville market due to their being branded ‘outlaws’, refusing to comply with the current trends of Nashville. However, this appeals to the indie audience who already feel out casts in society and relate to this sense of exclusion by mainstream ideologies. 
Alt country music, as with all music is constantly reinventing itself and morphing into new sub-genres. Recently alt music has morphed into Americana. Despite Americana being a derivative of country they can be seen as binary opposites in the sense that they represent the organic and synthetic. Modern country is artificial and synthetic, engineered by producers and song writers to appeal to the widest possible audience. This Nashville conveyer-belt music has pop undertones with catchy tunes designed to trap the unwary listener into assuming it is authentic country. The exaggeration of heartache and love is drilled into the consumer in such an over-countrified fashion to appeal as to the patriotic Americans whose undying love is ironic considering the mass produced trap they are stumbling into when purchasing a CD. This use of hyperbole means modern country loses the sincerity of the traditional country and alienates true advocates of the genre. Americana arose from this demand for authenticity. Written by organic song writers who move country music forward into a more contemporary market, while sticking closely to its origins, branch out into present social issues within a city/urban environment drifting away from the overtly country bumpkin Nashville. 

my God, we know so much. But what to listen to...


There are hundreds of fantastic alt.country and indie artists out there. Here are a few i strongly recommend.

1. The Felice brothers - The felice brothers are a group of brothers from New York; Ian, Jimi, Simone and Christmas with Greg Farley, David Estabrook and Dave Turbeville also joining the group (Simone felice has since left the group now to pursue a solo career) The band fall within the alt.country genre. Their music juxtaposes traditional instrumental soundscapes with a lexical dexterity antithetical to the country tradition. the themes within their music follow that of women, love, sex, death, loneliness and depression expressed in a more articulate fashion to that of their predecessors. The music conjours up images of great vistas of the open road, smoking Marlborough cigarettes, dingy clubs where the floors are sticky from spilt whiskey and bums queue at the bars waiting for the next greyhound bus. It relives a past we all wish we'd had and though the themes of the music are somewhat depressing, it is this desire to have what we can't which in my opinion makes the music all the more profound and pure.

Albums worth a listen; All of them, but my favourites are ‘The Felice Bothers’, ‘Tonight at the Arizona’, ‘Favourite waitress’ and ‘Yonder is the clock’

2. John Grant - John Grant is an American rock artist formerly associated with the band ‘The Czars’. Grant split form the band, struggling with an alcohol and drug addiction as well as coming to terms with his sexuality. In 2010 Grant launched his solo career with his first album ‘Queen of Denmark’. The album has a more contemporary sound with a piano and electric guitar accompanying. It has a somewhat electric rock feel at times and it’s daring use of instrumental make this album a cracker. His second album ‘Pale Green ghosts’ is just as good as the first with tracks such as GMF. Albums worth a listen; ‘Queen of Denmark’ and ‘Pale Green Ghosts'.

3. Mark Mulcahy - Mark Mulcahy is an American musician formerly associated with the rock band 'Miracle Legion; between 1980 and 1990. Mulcahy split from the band and launched a solo career fairly quickly after his departure. His music is very quirky and all-though he is by all-means his own act, parallels can be drawn between him and the velvet underground in terms of lyrical choices. His most recent album in my mind is his best - 'Dear Mark J Mulcahy, I love you'.

4.  Uncle Tupelo -  Uncle Tupelo was an alt.country music group from Illinois and were active between 1987-1994. The band were one of the earliest fashions of punk/rock and country, taking influence from the sex pistols, Hank Williams and Beat authors such as Jack Kerouac. Some consider them to be the sole founder of the genre. The music has a definite country sound, but is paired with an anti-authoriarian attitude and punk undertones that give the music a sense of rebellion as achieved through the lyrics. The music is slightly more upbeat than many of the other alt.country artists i have mentioned, but most definitely worth checking out. Albums - 'No depression', 'Still feel gone', 'March 16-20, 1992', 'Anodyne' and '89/93, anthology'.

5. Jim Sullivan - Jim Sullivan was an Irish-American musician, who in 1975 disappeared outside Santa Rosa, New Mexico never to be seen again.  He was stopped by the police 15 hours having begun his journey from LA to Nashville for swerving. Sometime later his VW was found abandoned, with wallet, guitar and albums left untouched. Some believe he got lost in the dessert, some believe mafia were involved and some believe he was abducted by aliens. Sullivan's perhaps coincidentally, perhaps not album U.F.O was only recently given the release it deserved. Sullivan skirted around the edge of fame, becoming a well-known face around Malibu and even having a cameo in the cult-classic 'Easy-rider'. Light in the attic (record label) became obsessed with finding out the truth as to what happened (remains unknown) and upon doing so stumbled across the album U.F.O and vowed to give it the recognition it deserved. The music has a relatively up-beat sound, however, the lyrics and sullivan's deep and expressive voice lend a sadness to the music. It has been described as 'a slice of American pop music filtered from the murky depths of Los Angeles, by way of the deep south' (Light in the Attic). Albums - 'U.F.O'.

6. A.A.Bondy - A.A.Bondy is an American folk/alternative artist from Birmingham, Alabama, and the former lead singer and guitarist in the rock band Verbena, founded in the 1990s. When the band broke up in 2003 Bondy re-constructed a solo image, releasing his first American Hearts in 2003. Bondy's music is alternative country, focusing on the use of instruments such as the acoustic guitar and harmonica. His 2007 album marked a shift to a more minimalistic, traditional country sound in his music in comparison to the more rock/country sound of his previous band Verbena. Albums worth listening to; ‘When the Devils Loose’.

7.  Wilco - Wilco is an American rock band based in Illinois. The band was formed by remaining members of Uncle Tupelo after their split in 1994. The band is not altogether similar to Uncle Tupelo. It has a far-less obvious country influence, with rock being the predominant style. The music is more rock, but not too heavy, the lyrics not upbeat and the overall sound is more experimental and contemporary than a large portion of alt.country music. Wilco have been a successful band and continue to produce quality music. Albums - 'A,', 'Sky Blue Sky', 'Wilco', 'Yankee Hotel Fox-Trot'.

8.  Michah P Hinson - Micah P. Hinson is an American musician whose work falls under the country genre. The sound of his music is very much country with some songs opening with old grammar phone recordings. Hinson describes himself as searching for the American dream and has some fairly controversial political standings which caused a stir when he chose to share them. The music is a strange combination of past and present, embodying elements of burlesque and neo/burlesque while fusing sounds that conjour up images of formal dances, and lullabies with old gramophone recordings being included on some tracks. Albums worth a listen; Micah P Hinson and the Empire Orchestra and ‘The gospel of progress’.

9. Mark Lanegan - Mark Lanegan (1964 - present) is an American singer songwriter. During his adolescence Lanegan became heavily involved in drugs, supposedly escaping a dysfunctional family. He was arrested and faced a year in gaol, but instead went on a rehab course and avoided imprisonment, He started out forming grunge and heavy rock bands, but as he got older his music mellowed, collaborating with Isobel Campbell on the album 'Ballad of the Broken Seas' and began to produce music with a more alt.country than grunge sound. During this transition he wrote the album ‘Field Songs’. This is a very good album, with Lanegan's rugged voice and somewhat depressing tune and sinister undertones that give an almost uncomfortable feel, Lanegan embodies the alt.country image.

11.Josh T Pearson - Josh t Pearson is an American singer/songwriter. Originally from Texas, Pearson launched his career in 1996, forming the band 'Lift to experience'. Though short lived the band was critically acclaimed and gave Pearson a launching pad for his solo career. In 2010 Pearson left Bella union and was signed by Mute records, who launched his first solo album 'Last of the country gentlemen'. I'll make no bones about it, this album is depressing. The slow tempo of the songs and borderline  incomprehensible durgy vocals make the album undeniably dreary. But no one ever said dreary was bad, the lyrics are strong and most definitely sum up the images of whiskey and broken love that are synonymous with country and alt.country. Albums to cheer you up - 'Last of the country gentlemen' and 'The Texas-jersualem Crossroads'. 

12. Ryan Bingham -  Ryan Bingham is an American singer songwriter from Texas, but is currently situated in California. His music falls under the Americana bracket. Bingham had a disrupted adolescence with his mother drinking herself to death and his father committing suicide. Bingham developed an interest in the guitar at 16 when he was shown how to play a classical Mariachi song called "La Malaguena". Bingham pursued  a solo career in music. He only plays guitar, having no accompaniments. His lyrics create an impression of a profound unhappiness and his instrumentals a sense of loneliness. His songs are incredibly moving and his skills for writing and incredibly deep, cracked voice aren't too dissimilar to Leonard Cohen. Albums - 'Mescalito', 'Roadhouse Sun', 'Junky Star' and 'Tomorrowland'.
 

13. Jonathon Wilson - Jonathon Wilson is an American musician from North Carolina. He has been described as falling within the alternative rock and psychedelic rock genres. Wison's music has experimental instrumental arrangements and the structure of his songs is unusual. He has been relatively successful in the UK charts and his most recent album 'Fanfare' has received critical acclaim.