I’m reading the first volume of the history of sexuality by Michel Foucault concurrently with a friend, as we’ve decided to book club it. As I’m reading on the plane, I am also listening to my iPod while doing so. I noticed a particular song transition, that is very common in my music library: it went from a french opera (is on the Marie Antoinette soundtrack) to a song from Ke$ha. If you don’t know Ke$ha, I’ll gladly post a video here to illustrate.
The particular song that came up, Sleazy, is an interesting one. Ke$ha as a phenomenon of the pop scene, is also a good example of a resurgence of a movement that plainly speaks of sexual exploits, nightlife and re-showing us the simplicity of non-glamorous-hollywood outings, that any of us ‘attend’ to on any given day. Sleazy is not about going to the hottest club, but more about being comfortable in your own skin with your friends; even when that level of comfortability means being crass, vulgar and in her own words: “scummy”.
More so, through the electronic dance genre that is nowadays more common in mainstream pop, the song proclaims the victory of a working class night out. It rejects the company of those that flash their presupposed upward mobility in bars/clubs. The bourgeoisie is called out and Ke$ha rejects any type of sexuality that is subjected to that discourse. The partygoer is on a selfish adventure in Ke$ha’s posse and her group of “girls” and her “boys” to get “sleazy”; something not so subtly extrapolated when the song onomatopoeically sexualizes the activity by saying:
And we come back to now start a discussion on how Foucault described discoursal scenarios such as this one in regards to the how we are ‘conditioned’ to repress the level of sexual detail we are willing to accept before we condemn Ke$ha to being a slut. I expect to have more answers and a better understanding on the phenomenon that Ke$ha exemplifies as I keep on reading. In the meantime, I will keep being sleazy in much the same way Ke$ha celebrates.