The L Word, Part 4
If you want to start an argument or a fight, simply ask a woman who her favorite musical artist/band is, reflect a moment, and then proclaim assertively: “he/she/they SUCK.” Most all of us believe we have exceptionally good taste in music, and we do — we know precisely what we like to listen to and what time and with whom.
However, we’re never going to achieve consensus in determining which artists are good, worthy, original, sublime, inspirational. Artists/performers will ALWAYS have their detractors, and we will always take slights to them personally.
With this stated, I will continue.
One of the best qualities of The L Word has been its inclusion of, and devotion to, women and lesbian musicians. No, I don’t like every song played on The L Word; no, I don’t suspect you or anyone does. No, I don’t agree with certain choices for certain scenes. Nevertheless, the show has provided exposure to numerous lesbian performers who deserved national attention.
Amy Cook, The Ditty Bops, Maria Muldaur, Joan Armatrading. Heart, Cory Lee, Tori Amos, The Pipettes. Lita Ford, Toshi Reagon, Peaches, The Staple Sisters, The Pointer Sisters, Fantcha, Goldfrapp. Naturally and remarkably, the list continues. Some were famous long before The L Word; others were virtually unknown to a national (much less, international) audience before their songs appeared on this program.
We all have our favorite artists; we all have those that we find revolting. However, The L Word undeniably has provided a stage to many deserving artists who before were only recognized regionally or who had slipped into obscurity. For this reason alone, we should congratulate the show’s creators, producers, and Showtime.
For the record, the theme song irritates the shit out of me.
