Michael Jackson

Decade of the infamous phallus

Saturating the nation in one scandal after another, the American male member takes center stage in the last decade of the millenium.

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Rarely do topics or attitudes that have come to characterize decades actually span their particular decade. The ’60s — a mind-set meaning everything from “do your own thing” to “love the one you’re with” to “everyone is a star” — did not really kick in until 1964 or so. Nor did they end in 1970. The ’70s were permanently dubbed “The Me Decade” because of the proliferation of self-help groups, although these groups didn’t really sprout en masse until the middle of the decade. And although “The
Greed Decade” of the ’80s certainly saw its fair share of freebooting — so
has every decade in American history: Why nail one 10-year span with the
country’s curse?

Yet this decade stands apart. One topic, and one topic only, has
obsessed the entire period. The male unit. The obsession has been gathering
steam since Elvis twisted his pelvis on the Ed Sullivan show in 1956 and
shows no hint of getting tired. But it wasn’t until the ’90s that the
phallic fixation exploded. Unfortunately, the endless media gangbang has
rendered us comatose and barely able to notice. Gay men have not only proclaimed that they’re here, they’re queer, get used to it, but that the erect cock is a beautiful thing — especially with its foreskin surgically reattached, and when it belongs to a body with flat abs — worthy of federal funding. For the first time in non-X-rated cinematic history, a semi-turgid cock seized the spotlight, when Mark Wahlberg whipped out a 14-inch schlong in “Boogie Nights,” causing so much speculation that publicists had to admit that it was a fake.

Now, as the century grinds its pelvis forward for a couple of final rounds, the Christian right in its New Testament raincoat skulks around the fun house, trying to shut it down while listening at the door for squeaky mattress springs and praying for jism-stained laundry. Yes, thanks to its enemies, pornography has gone mainstream, rendering
smutmeister Larry Flynt a harmless defender of the First Amendment as he
mounts an X-rated jihad financed by peddling women. Both sides have been
abetted by another dirty old man in disguise: the media. Here’s a scoop for
you: Hiding behind that straight face of objectivity is a big, greasy leer
and a mouthful of rotting yellow teeth waiting to chomp on any piece of
meat it calls a story.

And for the past 10 years, as the media would have it, there’s been just one. Indeed, this era has been so seamless and so unfettered by other possible thematic distractions that it’s possible to survey it simply by following a trail of penile scandals. From 1990 through to the present, not counting the O.J. Simpson trial or the murder of JonBenet Ramsey (both tangentially related to this theme), the national conversation has been one endless variation on the same narrative, dominated by the following seven episodes:

Erik and Lyle Menendez: Their arrest on March 11, 1990, for the murders of their parents set the tone for the decade. During their trial, a new phrase — “the abuse excuse” — entered the lexicon, with younger brother Erik testifying that his rich father first “massaged” Erik’s penis when Erik was 6, continuing every one to three months until shortly before Erik and Lyle killed him. A week before his 16th birthday, Erik said, his father entered his bedroom and ordered Erik to get on his knees and perform oral sex.

How does the country know this? Well, we let our fingers do the surfing, and when we caught the wave of Court TV, we had a nice long ride. The Menendez drama gave Court TV a launch worthy of NASA, not to mention the career of courtside commentator Laurie Levenson, the first of hundreds to collect a paycheck for the “yardage gained” style of analysis of the decade’s most sensational trials. Weirdly, the penis of Menendez père was discussed for six years, through two trials, with an early timeout in 1991 for discussion of the Clarence Thomas hearings (see next page). In 1996 the brothers were convicted of first degree murder, and presumably are now forced to play hide-the-salami behind bars.

Clarence Thomas: With the weird foreplay of the Menendez trial, the conversation quickly escalated when in 1991 a Supreme Court nominee was accused by a former assistant of sexual harassment. At congressional hearings in October of that year, the country came to a halt while Anita Hill testified about the strange sexual behavior of her former boss. “He got up from the table where we were working,” she said, referring to several incidents in 1982, “went over to his desk to get a Coke, looked at the can and asked, ‘Who has put pubic hair on my Coke?’” On another occasion he referred to the size of his own penis as being “larger than normal.” As the nation leaned closer for a collective listen, Hill testified that, in his attempts to seduce her, Thomas invoked the notorious porn star Long Dong Silver — immediately resulting in a massive upsurge in the renting of the videos featuring the super-size performer.

Meanwhile, the country was ripped by a new skirmish in the ongoing gender war: Was Hill telling the truth? While thousands of women affixed “I Believe You Anita” bumper stickers to their cars, men hunkered down at the office water cooler and whispered nasty jokes. Thomas survived the battle and ascended to the Supreme Court, but years of guffaws ensued. The episode was finally put to bed in 1998 when Fox Television scrapped plans to air “Strange Justice,” a movie based on a book about the Thomas hearings, perhaps because the Murdoch-owned network feared upcoming Supreme Court hearings about cable operations.

William Kennedy Smith: With his arrest in 1991 for rape, the decade’s baton was passed to a perennial player, the Kennedy family. Once again, the country pondered that pesky question: Whither the royal unit and was it on the guest list? Too far and no, claimed the woman who pressed charges. While the Menendez tale played on, Patricia Bowden testified in a Palm Beach, Fla., courtroom that Smith raped her at the Kennedy family’s compound after a night of partying with Uncle Ted. Along with Smith, it seemed as if the entire family were on trial, as prolonged public discussion of Kennedy sexual conquests and the disaster at Chappaquiddick dominated the ether.

The mild-mannered female district attorney in Palm Beach was no match for Smith’s high-priced gun; Smith was acquitted, paving the karmic way years later for renewed interest in the case of Martha Moxley, a teenager murdered in Greenwich, Conn., in 1975, allegedly by Ethel Kennedy’s nephews.

Lorena and John Wayne Bobbitt: With Lorena’s arrest in 1993 for castrating her husband, the drama reached a climax as women across the country hit the media streets in support of their new heroine. After being raped (she said) by her ironically named husband, John Wayne, Lorena fulfilled the nomenclatural destiny of their mutual surname and cut off his penis. Whereupon she took it for a ride and tossed it into a neighbor’s yard. The dismembered unit was found by a maintenance man, driven to the hospital and reattached.

With this story, the press got two for the price of one; the old newsroom adage “If it bleeds, it leads” became “If it’s big and hard, it stars.” While John recuperated and the world waited for news of how fared his member, Lorena’s trial for malicious wounding unfolded. In the end she was found not guilty by way of temporary insanity and sentenced to 90 days in a mental institution. The rising tide of this episode floated many boats, include that of the castrato himself. John Wayne Bobbitt became a porn star and stripper, Jay Leno had jokes for the next two years and the country was giddy with cock-related queries such as, Can he get it up? For how long? And how long is it?

For those wondering, the answer apparently is more or less. In his video “John Wayne Bobbitt Uncut,” he boffs a number of horny starlets, despite evident battle damage. And it seemed to be in working order in 1997, when he was fired from his gig as doorman at the Moonlight Bunny Ranch in Carson City, Nev., because he reportedly could not stop manhandling the girls. 1997 was an equally bad year for Lorena — she was arrested for beating up her mother.

Michael Jackson: The accusations of child molestation against this chart-topper broke in 1993, providing no quarter for those already weary of the avalanche of sex scandals, and kicking off a media feeding frenzy that almost brought down a record label. On Aug. 17, the Los Angeles County Department of Children’s Services received a report in which a 13-year-old boy told of a sexual relationship with the self-styled bump-and-grind king. While sleeping in the same bed with Jackson over a period of four months, the boy alleged, the two had kissed and fondled each other and Jackson allegedly masturbated. On Aug. 22 and 23, Jackson’s Los Angeles and Santa Barbara homes were searched for pornography. Then someone sold a copy of the boy’s report to the tabloids. Jackson’s lawyers accused the boy’s father of extortion. The boy sued Jackson for sexual battery, which Jackson denied. On Dec. 1, 1993, Jackson hired Johnnie Cochran. Ten days later, the Santa Barbara district attorney photographed Jackson’s genitals, introducing the term “distinguishing characteristics” into the public discourse. “There were definite markings on Jackson’s genital area,” the D.A. said, “including a discoloration on his testicles,” which the boy had described.

The country — nay, the planet — was again consumed with questions such as, How big is it? Two days before Christmas, broadcasting from his Neverland Ranch, Jackson proclaimed his innocence. On Jan. 25, 1994, Cochran announced a settlement. In June 1995, Jackson, appearing with wife Lisa Marie Presley (offspring of Elvis the Pelvis), proclaimed his innocence once more, this time on “PrimeTime Live.” In 1996, the boy’s father sued Jackson for breach of contract. In 1998, a final settlement was reached, but by then, of course, after five years’ worth of discussion about the Prince of Pop’s penis, a new and bigger drama had replaced “The Story of the Jackson Five Inches.”

President Clinton: — Call this one “The State of the Unit.” Just as the economy is in a state of prolonged tumescence, so, it seems, is the presidential groin. Perhaps the country would still be telling Michael Jackson jokes if Paula Jones hadn’t surfaced in 1994, declaring in court that while she was an Arkansas state employee in 1991, then-Gov. Clinton “lowered his trousers and underwear, exposed his penis (which was erect) and told me to ‘kiss it.’” While Clinton denied the accusations for the next four years, Jones claimed that she could prove that the president dropped trou: She knew what his penis looked like. In court papers, she described it as “bent to the right” (perhaps an early indication of Clinton’s plan to roll back welfare, had anyone bothered to listen to Jones). Within moments of the affidavit’s unsealing, every major publication from the New Yorker to the Los Angeles Times reprinted the verbal portrait of the presidential penis. For many, the 24-7 coverage of this topic proved that Western civilization had finally collapsed, while perhaps in the view of some gay men, it was now peaking. Did Clinton himself invite this tribulation when he metaphorically unzipped his pants and discussed his underwear on MTV? Possibly, yet it seems that by 1997, when this information surfaced and the president was truly left naked before the world, his background had finally caught up with him: You can take the boy out of Arkansas but you can’t take the Arkansas out of the boy (I believe you, Paula).

But it was the relationship with Monica Lewinsky, who, according to a former boyfriend, had announced early in the decade that she was heading to the White House to secure her “presidential kneepads,” that sent the decade into phallic overdrive. Seeds for scandal have never fallen on such fertile soil. Anchor yentas, now more securely employed than ever, spent the coming year agonizing in public over whether to keep talking about blow jobs. Op-ed pages were filled with screeds penned by disturbed parents — how dare the networks talk such trash! What can we tell our children? they demanded, as if the news without blow jobs were perfectly acceptable. And meanwhile, the country — not just a few chicks — continues to suck the president’s dick. “Oooh, Bill,” the polls say, “thanks for the big 10-inch economy. You taste sooo good.” Which leads us to the guy that Clinton had to cream in order to get millions of citizens to simultaneously feel — and relieve — his pain …

Bob Dole: In 1998, just when the memory of Bob Dole’s post-election Visa card commercial was beginning to fade, he embarked on a round of talk-show appearances to promote Viagra. “Hey, everybody!” he seemed to say, “don’t forget about my penis!” On the payroll for Pfizer, the manufacturer of the male performance enhancer, Dole explained that “I’d already lost the election, and I wasn’t looking for the erectile dysfunction vote. Viagra is a great drug.” Was the election loss to Clinton in 1996 an emasculating experience? Did it make Bob Dole wonder who Bob Dole really was? When you always talk about yourself in the third person, and then that third person disappears from the exit polls, does a problem not ensue? In all fairness, it’s far more likely that Dole’s performance troubles resulted from his battle with prostate cancer, although the failure to reach the goal of a lifetime couldn’t have helped. But no matter — hats off to the future first man. Flaccid or hard, he’s the only stand-up guy in this sorry pack.

Of course, it’s no accident that the national obsession with such matters comes along at this time. The celebration of male culture has gone underground. Which is not to say that Super Bowl Sunday is soon to become a secret rite, but that the public discussion of such activity is now carried on in the most defensive of ways. Commercials during football games present married men who mount elaborate subterfuges so they can drink beer with their buddies. Clint Eastwood has been replaced by Ben Affleck and a generation of “The Good, the Bad, and the Ironic.” “Saving Private Ryan” came along too late to save Bob Dole, an actual World War II hero.

Today’s military battles not war, but for its existence; in spite of appearances to the contrary, such as the bombing of Iraq and Clinton’s call for increased weapons spending, downsizing at military bases continues apace. And in their defense of Paula Jones, Republicans celebrate feminism. Even if they’re doing it to bring down a president, as many believe (I don’t happen to find their motives so monochromatic), it’s still an astonishing act from which there can be no return. I don’t know why so many people say the women’s movement is dead — these, and the above-mentioned scandals, show that it is almost in complete triumph. I say “almost” because Monica still had to produce the dress before Bill admitted having the affair (and, let’s face it, to paraphrase the bumper sticker, shit like rape still happens), although most people already believed her, not the president.

The ’90s proclaim that male culture will not be denied, no matter how frenzied and bizarre the assertion. Odd, isn’t it? After 10 years of sexual humiliation, castration, penises that are bent and flawed, lost elections and lost erections, the penis now looms over public consciousness like a shadow of the Washington Monument, dominating the gabfest of a feminized terrain in a posture that is grotesque and stripped to the bone. (In fact, the monument is being renovated, something the masculine symbol could use as well.) Will the 21st century mark curtains for the world-renowned organ? Well, according to my interpretation of scripture, the Decade of the Dick, the Epoch of the Cock, is destined to erupt in … The Second Coming. Whether this is good or bad for you or me, whether it unfolds on Court TV (“The antichrist on Trial”) or at the Kennedy compound, I cannot say, but after the last 10 years, one thing is for sure: We’ve had the mother of all lube jobs.

Deanne Stillman's writing is widely published, anthologized and produced. Next year, William Morrow will publish her nonfiction book, "The Murders at Twentynine Palms."

Well, Whadja Expect? The Triumph of Art?

Last night's suck-up-to-the-bucks monstrosity proved once again that the Oscars are the Grammies of film.

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After an Oscar night devoted to unapologetic commercialism and the complete abnegation of all artistic craft for the sake of box-office heavyweight gloating, all one could really ask was, “Where was El DiCaprio?”

Was he off learning to become a Scientologist in order to cure himself of tabloid homosexuality?

Cowering with Michael Jackson in the petting zoo? Grinding up a sandwich bag of Peruvian Flake in the strobelit VIP womb of the Viper Room and jabbering about real estate? Crying on the couch with a team of Jungian therapists who massaged his hands and read him Joseph Campbell? (“Yes, Leo — Fame hurts. Look what it did to Perseus. Do you think you should take another Xanax?”) Where was the shiny boy who is now in the terrifying jockey position of being the Ubiquitous Person of the Moment Who Shall be Loved Into Pulpy Matter by Blindly Devouring Fans?

He has something like four photo albums of himself on the New York Times Bestseller list, his little childish jawline fixed on “manly” setting, his eyes staring earnestly off into middle-distance. No wonder Kate Winslet is so seethingly pissed off. All that crucial nationwide masturbation happening and nobody hanging posters of her.

“Amistad,” and its not-so mysterious absence, really set the tone for the whole night. I had a feeling it would be totally ignored — all those expensive Ralph Lauren shots of naked black athletes writhing for survival in a cruel and ignorant early America. “You watch,” I said, months ago. “They’ll trot the beautiful African guy onstage at the ceremony to present best sound editing in a foreign short film and that will be all you see of ‘Amistad.’ This won’t be one of what the Academy must refer to as their ‘Noble Cripple & Spade’ years. They paid too much PC and indie attention last year; it frightened the big pants off the cash kings. They won’t feel secure in Hollywood again until they have Mike Leigh directing Pepsi commercials and Emily Watson guest-drowning on ‘Baywatch.’”

All the oppressed minority propers of last night went to documentaries on the Holocaust, Hollywood’s favorite genocide. I had a feeling the Academy was getting tired and cranky viewing the black plight. And nobody seriously thought they’d rally behind the Branch Davidians and give the documentary Oscar to “Waco: Rules of Engagement.” Why recognize a new villain like the ATF when you can trot those useful Nazis out, year after year? Why ever recognize Spike Lee for anything, when his mean little films so hate Whitey? Let’s all laugh again watching old footage of that Indian babe accepting the award for Brando. What a kook he was, trying to get all political with those weird brown people. He must have been drunk that day, or too darn fat.

I guess you can tell the couples in Hollywood now by the fact that they look like they’re on the same drug: Matt Dillon and Cameron Diaz, for example, both featuring that red-rimmed, sanpaku (a Japanese term for the condition when the whites of the eyes are visible under the eyeballs — they think it means you’re half dead) look, and speaking really slowly as if from far, far away. The scruffily pert Meg Ryan seemed to be waggling with drink like notorious degenerate husband Dennis Quaid, and had mascara smeared on her cheeks. There were others who might have been humming with stimulants but were probably just aggressively face-lifted into a constant look of surprise, like Cher.

Helen Hunt? I remember a day when TV acting was considered too coarse and obvious for the big screen.

Ben Affleck? Matt Damon? I don’t know anybody who liked that film. Is this some kind of Velvet Mafia coup?

Jack Nicholson? Jesus, could that dessicated old vampire really have churned out a Nicholson performance so starkly different from all the other Nicholson performances that he merited a whole new trophy? Robin Williams? OK, why?
Kim Basinger? Why, why, why? What are the RULES to this game? There must have been a time when the Oscar winners reflected the votes of the outside world too, and were not just the vanity parade of some elite group of fame-community power faces and their super-agents. It was interesting, though; it basically showed us that Hollywood is an organism that’s totally out of control, governed only by the weird preferential swells of box-office economics. It was the “Titanic” show from front to back — the whole set of the Oscars LOOKED like the Titanic. “Titanic” made a billion dollars. Little gold statues for everyone involved. Here you go. It proved once and for all that the Oscars are the Grammies of film.

It was pretty indistinguishable from the Grammies at times last night, judging from all that Turbo Karaoke Emotion. Flatley is Lord of the Dance; Bolton, however, is Lord of the Song. And Celine Dion is Lady.

The morbidly shriveling and schoolmarmish Dion, wearing a neoprene cassock, failed to sexualize any portion of the stage while trembling with pain over the eyebleeding Titanic ballad. I watched her aged Svengali boyfriend remote-controlling her arm movements from the audience with a small steering wheel. He’ll let her jump for a nice bag of sardines when she gets home, maybe reward her with a three-pack of fresh nylons. Then she’ll retreat to her little haystack for her five-hour rest.

There are some really hot babes in Hollywood who were reduced to Vanna White hood ornament status by the Academy — Ashley Judd, for one. Drew Barrymore. Jennifer Lopez, while in possession of a peeling rack, looked like she needed more vocal training from her acting coach so she wouldn’t sound like she grew up in the barrios of Echo Park carving “Chicas Locas” into her thigh with a Bic pen. She seemed hyperconscious of this; she is kind of begging for somebody like Celine Dion’s unsmiling dungeonmaster to Henry Higgins her into a real Lady.

Hey, whenever there’s a dull Oscar moment, why not cut to a shot of Michael Caine, doddering? Or a doddering kodiak bear? Bear, Michael Caine. Caine, bear. Oscar night! Whee.

You knew that Kate Winslet really felt she had the Oscar in her bones. It was her Oscar, she KNEW it. She felt severely robbed. You could tell by the way the black foam started pouring out of her mouth and ears when they gave the award to Hunt. You knew Kate had her entire night planned around flashbulb handshakes and gracious Lovegetting. You could tell that she needed the Oscar for sick personal reasons. La Winslet’s greasy curls looked more and more Medusa-like throughout the evening; the hatred in her aura smogged in that whole end of the room. She was going to go back to the hotel, get shitfaced and eat 24 Ho Ho’s, sobbing and spitting and throwing ashtrays out the window. FUCK the Oscars! FUCK them! Buh-hoo-hoooo-hoooo-hooo-hooo. Sniff. Buh-hoo-hoo-hoo.

Everyone at my Oscar party felt kind of sick inside during James Cameron’s grotesquely self-aggrandizing speeches; he proved once and for all that he’s a totally loathsome Costnerian dullard. You could tell when he got the best picture award that muscular wife Linda Hamilton must have chastized him for being such an ego-bloated dunce during his best director acceptance speech: “Hey Jim, that movie you made? All those people actually DIED on the Titanic. Maybe you oughta say something.”

So then Cameron trots out this laughably unmoving, totally obvious face-saving and time-eating device of “a few seconds of silence” for the dead of the Titanic … What the fuck was that, Jim? I’m glad he gave away all his points. I’m glad he made no money.

I guess the lowbrow sponsorship really summed it all up in a flash: The 70th Oscars, brought to you by Kentucky Fried Chicken, Camaro and J.C. Penney. Oh, so THAT’s who saw “Titanic.” None of my friends did.

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Cintra Wilson is a culture critic and author whose books include "A Massive Swelling: Celebrity Re-Examined as a Grotesque, Crippling Disease" and "Caligula for President: Better American Living Through Tyranny." Her new book, "Fear and Clothing: Unbuckling America's Fashion Destiny," will be published by WW Norton.

The Awful Truth: Plastic surgery erases your face AND your soul!

Plastic surgery leaves a hole in the soul.

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Whenever I go to parties these days, after we get done with Penisgate, everybody is talking about the same three things, all of them involving plastic surgery.

The first is a rumor, stoked by popular supermarket literature, that the tip of Michael Jackson’s nose is dead and probably needs to be amputated. Michael, the biggest problem star of the last decade, has made the astonishing transformation in his lifetime from divine child prodigy to internationally beloved black pop entertainer to warped hermit of the white persuasion. The tip of his nose, however, isn’t so lucky. It is apparently black and blue all the time because the blood in it no longer circulates.

My cohorts and I all have different theories on this. My favorite (and my personal belief) is that the media, in its slowly-inuring-us-to-the-fact-that-UFOs-are-real style, is trying to gently break the public in to the fact that Michael actually has ALREADY had his nose amputated. According to a Hollywood makeup artist a friend of mine knows, at a recent filming Michael was dancing in his whippy-snappy military trademark style, and during a quick toss of the head, his nose actually FLEW OFF. It was recovered by a prop guy and returned to the mortified owner, who clicked it back on his face and sprinted back to makeup to re-spackle the seam. The nose is apparently an expensive latex job with metallic bars on either side that plug into the magnetic strips implanted in his empty nose-hole. This is the reason why Michael’s face is always completely painted: He no longer has anything natural going on, nose-wise, at all.

Another idea, which all of my friends have independently formulated and which is chilling osmotically through the Zeitgeist like an ill wind, is that Michael is not going to live very long, particularly in his disgraced Short-Eyes state. He is like Wat, the no-nosed man who lived in the woods in the King Arthur legend. The nose serves as a filter for all human beings, and since Michael dismissed his nose, he is in danger of microscopic particulates flying directly into his brain and causing instant death. Everybody seems to think that Michael is going to die soon.

I even had a mystical experience in which I had a vision of his autopsy photo, the future most highly bootlegged piece of tragic kitsch in the whole lexicon of tasteless star-death souvenirs. Jesus! Everyone will be horrifically curious as to what he looks like under all those belts, those buttered seaweed curls, the white enamel and tubing. With my autopsy vision came my most terrible and elaborate Jackson prediction. Back in the ’70s, when a TV show started losing ratings, something terrible would always happen to one of the cast members to curry audience sympathy. Laura Ingalls Wilder’s sister went blind late in “Little House in the Prairie”; Maude had a cancer scare or something; didn’t Bonnie Franklin get hepatitis? Michael Jackson, I am sad to relate, will soon lapse into a freak-accident related coma, which will cause a burst of previously latent support for the ailing star. Thousands of fans all over the world will send him Mylar balloons and teddy bears, carnations and crayon drawings, and the entire Jackson clan (most visibly LaToya) will be at his constant bedside vigil. LaToya will selflessly beg the world to pray, on television. Then Michael will wake up! He’ll want to talk to the TV cameras, but he’ll be really, really strangely Book-of-Jeremiah-style religious and nobody will want to broadcast any of it. He will die a month later under weird, suspicious circumstances that nobody will ever figure out, like drowning in four inches of water in the bathtub while wearing a lifejacket.

The next subject that comes up is the Lion Lady, Jocelyn Wildenstein — plastic surgery monster and soon-to-be-ex-wife of art magnate Alex Wildenstein. Her photo shocked the world when it appeared on the cover of New York Magazine several weeks ago. This woman, who looked like a wholesome Swiss cheerleader before the heinous nonstop cuttings and slicings started, seemed to think of her face as a canvas upon which she could execute the most frighteningly morbid annihilation of self ever seen. Evidently, she started by replacing her head with a stuffed replica of Grace Jones but decided that wasn’t “feral” enough and decided to really go whole-hog, tattooing new Divine-style eyebrows in the middle of her forehead and stretching her eyes into Japanamation cobra slits. She built cheekbones by implanting two elbow pads into her face and bought herself three or four big wet mouths and had them sewn on end-to-end. Her hair, a big plasma-storm rendition of a bleach-damage afro, seemed to be the last thing on her above the neck to have any natural components remaining. She apparently wanted to look like a lion.

Her picture hurt everyone deeply in the soul. It made us all feel the same way that the little boys I grew up with who were obsessed with that Time/Life picture of the head of a charred soldier felt, but infinitely worse, because she’d paid tons of money and done it to HERSELF. At least three gay male couples I knew had the picture pinned up in their bathroom. You couldn’t stop looking at it. You had to just run away with the cover of the magazine and cringe somewhere with it, alone. We’d never really seen anybody erase themselves like that before. Michael Jackson, maybe, but at least he still looked HUMAN.

Finally, the conversation turns to the morbid surgery recently undergone by Courtney Love, the poor little famous girl. Courtney, through relentless and tenacious ambition, got wonderfully famous despite the fact that she was kind of fat and homely and rotten inside: She started her career by showing us that she, like so many other millions of American girls, wasn’t ever going to be a supermodel, or even pretty or even cute. She was able to sucker-punch the whole beauty myth, thrash horribly like a half-dead fish through her personal tragedy and rampant displays of public fucked-upness and still end up on the cover of Entertainment Weekly. The thing everyone is talking about now is what a tragic political disaster she has become. She killed her own magic and replaced it with sheer Hollywood emptiness. She didn’t want to be a world-beating feminist rock symbol after all. She has unequivocally proven that all she ever really wanted was to be conventionally pretty. She has surgically transmogrified into anti-woman Claudia Schiffer. Instead of a loud angry girl with ideas, Courtney turned out to be a horribly vain sociopath who venally choked enough money out of the world to transform herself into a “pretty lady.”

Neither Courtney’s nor Jocelyn’s nor Michael’s ugliness was skin deep — it was much deeper. None of them were actually “ugly” before the surgeries, but now, by negating all the natural architecture of their faces, they have somehow exposed their scarily infested inner selves in a way that their real faces would never have betrayed. None of us have ever before seen self-loathing so nakedly revealed: No pursuit of beauty has ever looked so viscerally wrong. We’ll see what happens to plastic surgery junkies in the next 10 years. I have a hunch it will eventually be regarded as a bigger cry for help than slit wrists or a pill overdose. Nobody should ever think that they look that bad.

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Cintra Wilson is a culture critic and author whose books include "A Massive Swelling: Celebrity Re-Examined as a Grotesque, Crippling Disease" and "Caligula for President: Better American Living Through Tyranny." Her new book, "Fear and Clothing: Unbuckling America's Fashion Destiny," will be published by WW Norton.

Mariah Carey

Sharps & Flats is a daily music review in Salon Magazine

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In her long seven-year reign at the top of the pop charts, Mariah Carey’s records have sold in excess of 80 million copies. Yet she has never done a U.S. tour, seldom plays live except in the most controlled environments and only does the kind of substanceless and butt-kissy interviews which preclude her from being seen on the covers of most reputable major magazines. That Carey’s record sales have been propelled entirely by videos and radio rather then media hype ought to be a sign of their inherent worth, but more likely they’ve simply been fueled by the bottomless pockets of her husband, Sony head Tommy Mottola, whom Carey, in her wisdom, has used to guarantee herself an endless front of industry influence.

This isn’t to say that Carey isn’t also talented. The woman may have a ruthless career plan, but she also has genuine pipes and, seemingly, her finger directly on the pulse of the populace. This year, Carey, now sure of her fan base, divorced Mottola just in time for the release of “Butterfly,” her fifth and cheesiest LP yet. Like her previous LPs, it is one long exercise in sugary corn — the music is so overproduced, so layered and harmonized and full of fa-la-la vocalizing, that one is hard-put to figure out where the melody begins within each mix. As for emotional content, Mariah Carey makes Whitney Houston look like PJ Harvey.

In short, Carey clearly never underestimates the general public’s appetite for dreck, and from a commercial point of view, she seems to be justified: It is, after all, Carey and not Madonna who is the bestselling female artist of the ’90s. But artistically, she is a negligible force — not to mention a bit of a thief. One of her more objectionable practices is to inject the mildest and most accessible aspects of hip-hop into her deeply bland music. On “Fantasy,” she stole giant chunks of the Tom Tom Club’s fab “Genius of Love”; she shamelessly covers sure-fire hit songs like Michael Jackson’s “I’ll Be There”; and perhaps most cynically of all, she pretends to a gospel background that rings entirely false. Here, her seven-minute-long cover of Prince’s “The Beautiful Ones” — a duet with Dru Hill — is a case in point: She can turn the heaviest numbers into pure maple syrup, and then add an extra spoonful of sugar, just in case.

Carey also works with artists like Boyz II Men, Sean “Puffy” Combs, Wu-Tang Clang’s Ol’ Dirty Bastard and members of Bone, Thugs ‘N Harmony, the implication being that Carey — who is half-black, though she doesn’t look it — has street cred, that despite the kabillion dollar pad in Westchester, she’s a homegirl at heart. But don’t you believe it. “Butterfly” is white as snow, and twice as icy, full of treacly songs about True and Endless Love, two things which Carey must know very little about. Carey’s celebrated seven-octave range is not in evidence here — she covers maybe two at most, and those are all at the top of the register, so she sounds like a slightly concupiscent child. Indeed, lyrics from “Honey” and “Babydoll” describe the fantasy love life of a particularly unimaginative but somewhat precocious 10-year-old girl, and the theme song “Butterfly,” which involves some lifts from an Elton John song, is, if possible, even gaggier than that. Alas, I wouldn’t want any 10-year-old girl I know looking up to a woman whose self-conception involves being a sexy baby doll, a gangsta’s homegirl and a rich old man’s ex-wife all in one. Even Madonna has more integrity than that.

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Gina Arnold is a columnist at the East Bay Express in Berkeley, Calif., and the author of the just-released book "Kiss This: Punk in the Present Tense" (St. Martin's Press).

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