{"id":273,"date":"2004-03-08T13:35:08","date_gmt":"2004-03-08T17:35:08","guid":{"rendered":"http:\/\/www.shaviro.com\/Blog\/?p=273"},"modified":"2004-03-08T13:35:08","modified_gmt":"2004-03-08T17:35:08","slug":"jacki-o","status":"publish","type":"post","link":"http:\/\/www.shaviro.com\/Blog\/?p=273","title":{"rendered":"Jacki-O"},"content":{"rendered":"<p>Jacki-O&#8217;s &#8220;Pussy&#8221; (or, in the censored-for-radio version, &#8220;Nookie&#8221;) is the latest rap song (following Lil Kim,  Khia, and Missy Elliott, among others) in which a woman celebrates her &#8220;wet and deep&#8221; orifice.<br \/>\nWhat&#8217;s fascinating about Jacki-O&#8217;s song (and &#8212; depending upon your perspective &#8212; either deeply weird or all-too-symptomatic of normative conditions) is the balance it negotiates between pleasure on the one hand, and power and money on the other.<br \/>\nThe lyrics mostly celebrate pussy power as what can &#8220;pay my bills&#8230; I don&#8217;t pay for weed, I get in clubs free&#8230; Girls, we got power cuz&#8217; we got pussy.&#8221; Jackie-O boasts that men are just slobbering to sample what&#8217;s between her legs: &#8220;He need this pussy\/ He smell this pussy\/ He wanna taste this pussy\/ You gotta pay for pussy.&#8221;<br \/>\nIn hip hop&#8217;s current battle of the sexes, this is probably only to be expected, as a response to male power. Money continually trumps desire on both sides of the fence. (Remember, the most woman-positive thing Jay-Z can ever bring himself to say is: &#8220;ladies is pimps too.&#8221; And even Missy reminds her girls to &#8220;get your cash&#8221; when you are getting off). Still, there&#8217;s nothing here that matches Lil Kim&#8217;s demand for clitoral pleasure from her men (&#8220;How Many Licks&#8221;), or Missy&#8217;s gleeful hymn to the vibrator, thereby dispensing with men entirely (&#8220;Toys&#8221;). Jacki-O seems concentrated on cash and luxury (emphasized in <a href=\"http:\/\/www.ifilm.com\/filmdetail?ifilmid=2480425\"> the video<\/a>), to the exclusion of all else.<br \/>\nDoes the pussy have more than instrumental value for Jacki-O?<br \/>\nHere&#8217;s where, I think, the song means more (and differently) than the words. The music sets a heavy beat against an almost nursery-rhyme-like melody (reminiscent of the Ying Yang Twinz&#8217; &#8220;Naggin'&#8221; (a misogynistic battle-of-the-sexes song itself, with a &#8220;Part 2&#8221; ladies&#8217; response). This makes the song sillier, and more playful, than it would be with a different instrumental track. (&#8220;Pussy&#8221; mash-ups, anyone?) And Jackie-O&#8217;s sultry, slightly slurry voice suggests an immense narcissistic pleasure, rather than calculation for gain.<br \/>\nWhere Missy is comfortably laughing and gossiping with her girlfriends, and where Lil Kim is both boasting to the world of her sexual prowess, and warning her men that they&#8217;d better have what it takes to keep her satisfied (all this amplified by the irony of the video for &#8220;How Many Licks,&#8221; which turns Kim into a series of commercial sex-toy dolls), Jacki-O sounds like she is only talking to herself. Which makes it seem like the cash is only an alibi for the pleasure, rather than the reverse.<br \/>\nOf course, as Freud (among others) says, nothing&#8217;s more seductive to heterosexual men than a woman who seems totally narcissistic and self-contained, so that apparently she doesn&#8217;t need them; so maybe Jacki-O&#8217;s voice in this song is really nothing more than a calculated ploy after all. And it works: she did indeed seduce me to buy her song for 99 cents (plus tax) from the Apple Music Store.<br \/>\nWhich brings it all back to performance. We are always performing, calculatedly putting on various personas. But we cannot do this with impunity; we always become, to some extent, what we are merely pretending to be. Which is part of what popular music does for its listeners: it seduces us, it gives us points of identification and irony, as it slides from one identity to another, forever proclaiming authenticity in the most artificial, factitious way possible, exploring\/exploiting the fault lines of our culture.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Jacki-O&#8217;s &#8220;Pussy&#8221; (or, in the censored-for-radio version, &#8220;Nookie&#8221;) is the latest rap song (following Lil Kim,  Khia, and Missy Elliott, among others) in which a woman celebrates her &#8220;wet and deep&#8221; orifice.<br \/>\nWhat&#8217;s fascinating about Jacki-O&#8217;s song (and &#8212; depending upon your perspective &#8212; either deeply weird or all-too-symptomatic of normative conditions) is the balance it negotiates between pleasure on the one hand, and power and money on the other.<br \/>\nThe lyrics mostly celebrate pussy power as what can &#8220;pay my bills&#8230; I don&#8217;t pay for weed, I get in clubs free&#8230; Girls, we got power cuz&#8217; we got pussy.&#8221; Jackie-O boasts that men are just slobbering to sample what&#8217;s between her legs: &#8220;He need this pussy\/ He smell this pussy\/ He wanna taste this pussy\/ You gotta pay for pussy.&#8221;<br \/>\nIn hip hop&#8217;s current battle of the sexes, this is probably only to be expected, as a response to male power. Money continually trumps desire on both sides of the fence. (Remember, the most woman-positive thing Jay-Z can ever bring himself to say is: &#8220;ladies is pimps too.&#8221; And even Missy reminds her girls to &#8220;get your cash&#8221; when you are getting off). Still, there&#8217;s nothing here that matches Lil Kim&#8217;s demand for clitoral pleasure from her men (&#8220;How Many Licks&#8221;), or Missy&#8217;s gleeful hymn to the vibrator, thereby dispensing with men entirely (&#8220;Toys&#8221;). Jacki-O seems concentrated on cash and luxury (emphasized in <a href=\"http:\/\/www.ifilm.com\/filmdetail?ifilmid=2480425\"> the video<\/a>), to the exclusion of all else.<br \/>\nDoes the pussy have more than instrumental value for Jacki-O?<br \/>\nHere&#8217;s where, I think, the song means more (and differently) than the words. The music sets a heavy beat against an almost nursery-rhyme-like melody (reminiscent of the Ying Yang Twinz&#8217; &#8220;Naggin'&#8221; (a misogynistic battle-of-the-sexes song itself, with a &#8220;Part 2&#8221; ladies&#8217; response). This makes the song sillier, and more playful, than it would be with a different instrumental track. (&#8220;Pussy&#8221; mash-ups, anyone?) And Jackie-O&#8217;s sultry, slightly slurry voice suggests an immense narcissistic pleasure, rather than calculation for gain.<br \/>\nWhere Missy is comfortably laughing and gossiping with her girlfriends, and where Lil Kim is both boasting to the world of her sexual prowess, and warning her men that they&#8217;d better have what it takes to keep her satisfied (all this amplified by the irony of the video for &#8220;How Many Licks,&#8221; which turns Kim into a series of commercial sex-toy dolls), Jacki-O sounds like she is only talking to herself. Which makes it seem like the cash is only an alibi for the pleasure, rather than the reverse.<br \/>\nOf course, as Freud (among others) says, nothing&#8217;s more seductive to heterosexual men than a woman who seems totally narcissistic and self-contained, so that apparently she doesn&#8217;t need them; so maybe Jacki-O&#8217;s voice in this song is really nothing more than a calculated ploy after all. And it works: she did indeed seduce me to buy her song for 99 cents (plus tax) from the Apple Music Store.<br \/>\nWhich brings it all back to performance. We are always performing, calculatedly putting on various personas. But we cannot do this with impunity; we always become, to some extent, what we are merely pretending to be. Which is part of what popular music does for its listeners: it seduces us, it gives us points of identification and irony, as it slides from one identity to another, forever proclaiming authenticity in the most artificial, factitious way possible, exploring\/exploiting the fault lines of our culture.<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[],"class_list":["post-273","post","type-post","status-publish","format-standard","hentry","category-music"],"_links":{"self":[{"href":"http:\/\/www.shaviro.com\/Blog\/index.php?rest_route=\/wp\/v2\/posts\/273","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/www.shaviro.com\/Blog\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/www.shaviro.com\/Blog\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/www.shaviro.com\/Blog\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"http:\/\/www.shaviro.com\/Blog\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=273"}],"version-history":[{"count":0,"href":"http:\/\/www.shaviro.com\/Blog\/index.php?rest_route=\/wp\/v2\/posts\/273\/revisions"}],"wp:attachment":[{"href":"http:\/\/www.shaviro.com\/Blog\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=273"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/www.shaviro.com\/Blog\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=273"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/www.shaviro.com\/Blog\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=273"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}