Zebra Katz’s underground/high fashion hit ‘Ima Read’ is one of those music videos you never forget seeing for the first time. Over a dark, driving minimalist beat, Ojay Morgan’s sinister alterego details the many lessons he wants to teach the world in a pressing monotone, dressed cosily like the proverbial schoolteacher but marking papers with giant red Fs and staring down the camera like he’s trying to will himself into your nightmares. In empty corridors and library stacks we see twin “schoolgirls” dancing messily in their ski masks and lashing beaded braids, crashing into one another like drunken toddlers one minute, pulling the Shining stance the next. The whole scene is lit like an evening in custody. And amongst it all sits Njena Reddd Foxxx, petulant in her pleated schoolgirl skirt, wool cardigan, and knee-socks; smiling coquettishly and flipping her bunches while she promises to slice, dice, and ice that bitch she just doesn’t like. The song’s lyrics extrapolate the ball scene idea of “reading” — the great queen tradition of destroying someone else’s soul through pithy, painfully accurate putdowns — and Katz and Reddd Foxxx show their own hardy commitment to realness, carrying the concept through to absurdly academic lengths. ‘Ima give that bitch some knowledge, Ima take that bitch to college,’ he says. ‘It’s gon’ be cohesive,’ she says. ‘It’s gon’ be my thesis.’
I was lucky enough to catch them live not so long after the track began to gain traction, supporting Azealia Banks on her 2012 Fantasea tour, in a mindblowing performance that began in creeping leather bondage masks and fast became a high-energy exhibition of playfully vicious rap battles and floor exercises. A particular highlight was hearing the bemused crowd around me refer to Reddd Foxxx as Katz’s “dancer girl” as she chair-vogued her way Kit Kat Clublike through the set’s opening tracks, only to lose their shit when she grabbed hold of a mic of her own. Things have been a bit quiet on the music front for Njena since 2013’s wonderfully strange take-no-prisoners EP Needful Things — and sadly also on the twitter front since early this summer. But, trained at prestigious arts institute Cooper Union, she has been involved in exciting creative projects in other spheres, including a recent co-exhibition at Washington’s Smith Center (under her given surname Jarvis), and this mesmerising video collaboration with London fashion designer Kitty Joseph and Absolut Vodka (directed by Rohan Wadham) at the tail end of last year. Soundtracked by her own track ‘Watercolor’ — an uncharacteristically mellow paean to a long-distance lover, produced by Jepordise and built upon a Tom Brock sample — Reddd Foxxx models three bespoke looks — “drop”, “flow”, and “settle” — twisting and dipping her way through a series of subtle contortions, mimicking the dispersion of ink dye through water.
Taking inspiration from traditional Swedish glass crafts, every bottle of Absolut Originality has a drop of cobalt blue infused into its glass. This colouring technique has been used for centuries in hand-made art glass, but never before has it been applied to create four million original bottles. Added just as the molten glass goes into the mould at 1100°C, the drop of cobalt blue streams down inside the glass creating a unique streak of blue. At that temperature the cobalt is invisible, but as the glass cools off, a beautiful and unique blue infusion appears. (x)
Absolut is a brand with a really interesting advertising history. Originated by Madison Avenue art director Geoff Hayes in 1980, the company’s primary print campaign is by now the longest-running in advertising history, with over a thousand incarnations following a very specific format: bottle front and centre, two-word tag, first-word absolut(e). Through this repeated motif, the iconic bottle becomes something of a fond acquaintance, recurring in a seemingly inexhaustable series of visual gags that veer from heroic “straight man” stances to the bottle rendered as a kind of conspicuous secret agent character, peering out from behind its camouflage and sneaking around the tableau in the comic vein of an Inspector Clouseau or cartoon trickster. In a precursive move that, for better or worse, propelled the enmeshment of high art and high commerce, the company has also commissioned original works from over eight hundred artists throughout the years, beginning with Andy Warhol in 1986. But creative charm aside, the Swedish brand is one of very few famously known for its refined social consciousness. You’d have to be perilously naive to think they’re in it solely for the karma points, but nonetheless Absolut has been staunchly team lgbtq* since placing back cover advertisements in gay-interest periodicals The Advocate and After Dark back in 1981, long before it was considered anything other than brand marketing suicide to do so. However, the spare simplicity of Absolut’s flagship campaign proved a perfect vehicle for queer-friendly double-coding, with a series of meticulously constructed and magnificently executed ads that acted as commercial optical illusions, open to interpretation, and the appreciation of a wide variety of potential consumers.
Top: a selection of print ads since 1980. Bottom: Andy Warhol 1986; Keith Haring 1986; Pierre et Gilles 1993; Damien Hirst 1998; Louise Bourgeois 2003.
I’ve been listening to Njena quite a bit lately, and have found myself returning again and again to the Absolut clip. It really didn’t get the attention it deserved. So many commercial collaborations are woefully misjudged, but this really seems like the perfect meeting of minds and intentions. With an evident background in the ball voguing scene, not only did Reddd Foxxx come to prominence in the queer hip hop wave, but her lyrics play with the very same strain of double-coding as those early advertisements, trading in silly bitches, fishy girls, and mad queens — understandable in very different ways to very different audiences. (‘If you catched the clues you know what I mean.’) Recontextualised in this way, constant jocular references to her metaphorical anatomy — ‘bitches on my tip like a full time waiter’, ‘fuck that bitch, no vaseline’ — can also be read in a completely new, queer light. From music to installation to performance, the many strands of her creative work attend to the body as metaphor, the metaphor of the body, and it’s incredible here to watch her gender presentation transition from scene to scene through just small alterations in her hair, garb, and mannerisms.
The original edit is beautifully pacy, accentuating the flow between music, movement, fashion, and imagery, but I really wanted to take a closer look at what Reddd Foxxx was doing with her performance. Below is a selection of gifs I painstakingly grabbed from the video clip. Watching each scene out of context, it’s interesting to note that alongside the mimicry of her fluid movements, the jump-cuts on the swirling liquid scenes echo her popped poses and the stuck-record cycling of the track, creating an even more profound sense of cohesion. Let the automatic slideshow flow for an abridged, slowed-down version of the video, or hit pause and click through one by one to see just how stunningly well-constructed the whole thing is.