Lana Del Rey, the depressed, addicted, nostalgic, resentful, mournful, louche musical genius voiced by Elizabeth Grant, has released her new album, and – even more than all her previous albums – it is an instant Strong Language classic. Continue reading
Last week, in response to the passage of draconian anti-abortion laws in several U.S. states, a Los Angeles–based makeup company announced that for four days it would be donating 100 percent of its revenue to organizations that support reproductive rights. The company, which was founded in the aftermath of the 2016 presidential election “by a group of jaded romantics,” is no stranger to controversy. The provocation begins with the company name: Lipslut.
Pictured: Lipslut’s “F*ck Trump” shade. The company also sells “F*ck Kavanaugh” (named for the newest U.S. Supreme Court Justice, Brett “I Like Beer” Kavanaugh), “F*ck Hollywood,” “Notorious R.B.G.” (a tribute to Supreme Court Justice Ruth Bader Ginsburg), and a dark purple shade called — deep breath — “Leftylibglobalistsantifacommiesocialisthollyweirdopigs,” which takes its name from an internet troll’s insult.
Lipslut joins an increasing number of mainstream brand names, titles, and idioms that deploy the S-word. As of this writing there are 54 registered or pending SLUT trademarks in the U.S. Patent and Trademark Office database; while a few are put to risqué use (SLUTNATION.XXX), many are family friendly. Which means that slut—a wanton word throughout its history—may be shape-shifting yet again.
With the passing of Scott Walker, who found pop-music fame as a member of the Walker Brothers before setting out on an inimitable solo career, the singer’s best-known work has been making the rounds online. One particularly memorable song from Walker was his first solo single, “Jackie,” released in December 1967. “Jackie” was an English-language rendering of Jacques Brel’s “La chanson de Jacky,” translated from French by Mort Shuman (a Brill Building songwriter who would go on to co-create the musical revue Jacques Brel is Alive and Well and Living in Paris). Both the French and English lyrics were quite racy for the time. The English chorus, as unforgettably delivered by Walker, goes:
If I could be for only an hour
If I could be for an hour every day
If I could be for just one little hour
A-cute-cute in a stupid-ass way
There had been backstage musicals before A Chorus Line opened on Broadway on July 25, 1975. But as far as I can tell, there had never been a backstage musical—or, really, any Broadway musical—that merrily sprinkled fucks and shits throughout the dialogue, which is spoken by auditioning singers and dancers as they bare their souls to an unseen director.* And there had never been a song in a Broadway musical with a title like “Tits and Ass.” In fact, less than a dozen years before A Chorus Line opened, uttering the phrase “tits and ass” in a public forum had gotten the comedian Lenny Bruce hauled off to jail.
Country singer Neal McCoy has a new song called “Take a Knee, My Ass,” bluntly commenting on the controversy over NFL players kneeling during the national anthem. He performed it in concert, and the Facebook live stream has gone viral. Buzzfeed has helpfully transcribed some of the lyrics:
I’ll honor the ones who gave it all
So we’re all free to go play ball
If only for their sake
I won’t take a knee
Arm and arm, side by side
America’s heroes fought and died
Is showing some respect too much to ask?
I speak for those whose freedom was not free
And I say
Take a knee
(McCoy prefaced the song by saying it has “a bad word in it,” in case anyone was offended by the word ass.)
The “take a knee” part of the chorus and title is a straightforward allusion to the kneeling football players. (See my Language Log post for a history of the expression.) But the “my ass” part introduces another body part into the mix, and people have been having fun intentionally misinterpreting it.