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Monday, May 21, 2007
by PopMatters Staff

All this week PopMatters is offering exclusive excerpts from the new Chris Salewicz biography of Joe Strummer, published this week in the U.S. by Faber & Faber.


Monday [5/21]: In the first installment, beginning with news of Strummer’s death, Salewicz remembers Joe’s drive, humor, and constant internal conflict. [read article]


Here we offer some of the best videos from Strummer’s career with the Mescaleros:


Joe Strummer and The Mescaleros - Johnny Appleseed


Joe Strummer and The Mescaleros - Coma Girl


Joe Strummer and The Mescaleros - Safe European Home [Live at the Roseland Ballroom in New York (1999)]


Joe Strummer and The Mescaleros - White Man in Hammersmith Palais [Live in Cologne, Germany (1999)]


Joe Strummer and The Mescaleros - Tommy Gun [Live at the Roseland Ballroom in New York (1999)]


Joe Strummer and The Mescaleros - Rudie Can’t Fail [Live at the Roseland Ballroom in New York (1999)]


Joe Strummer and The Mescaleros - London Calling [Live at the Roseland Ballroom in New York (1999)]


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Sunday, May 20, 2007







Well, I’m back (which is actually Eminem’s line, not Freddy’s). I wonder if you’ve wondered about what happened and where I’ve been . . .


Pregnant pause and bruised feelings later, I move to explain.


I had this idea, you might recall, of helping you along with hints to let you know where I’d been. As if anyone cared. But it was something to do with my brain, to keep it peripatetic, a way to spend some time – or so I thought. What I found, though – aside from being much too busy to sit and spin tales sufficient to connect the dots—was that it was hard to locate enough clues that wouldn’t immediately give it away; places being specific enough as to tag their essence. When it comes to locale, there are few generic ontologies – every city, every country, has its own cultural fingerprint. There are dialects, license plates, weather patterns, indigenous foliage; even MacDonalds has its regional cuisines.


At the same time, curves can be thrown. The image above, of Freddie, from Elm Street fame, was actually snapped on a street in Sendai, Japan. Imagine that. And, in fact, though I had intended that Freddie shot to serve as my last ironic clue in the hide-and-seek game of where I was (as Freddie’s place of origin was basically where my peripatetic feet had planted my bod), it was something more than irony that the sign of the “there” I visited was encountered in the “here” where I generally roost. More than irony, though; there is something in that statue about confluence, about unity; in short, about our modern condition.


”Global connectedness” being the intellectual shorthand. The conclusion: that this is not a hermetic place, this world we share. Elements of one culture can, and often do, exist in others.


 


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Saturday, May 19, 2007


As part of a new feature here at SE&L, we will be looking at the classic exploitation films of the ‘40s - ‘70s. Many film fans don’t recognize the importance of the genre, and often miss the connection between the post-modern movements like French New Wave and Italian Neo-Realism and the nudist/roughie/softcore efforts of the era. Without the work of directors like Herschell Gordon Lewis, Joe Sarno and Doris Wishman, along with producers such as David F. Friedman and Harry Novak, many of the subjects that set the benchmark for cinema’s startling transformation in the Me Decade would have been impossible to broach. Sure, there are a few dull, derivative drive-in labors to be waded through, movies that barely deserve to stand alongside the mangled masterworks by the format’s addled artists. But they too represent an important element in the overall development of the medium. So grab your trusty raincoat, pull up a chair, and discover what the grindhouse was really all about as we introduce The Beginner’s Guide to Exploitation.


This week: Florida filmmaker William Grefe finds exploitation elements in the oddest of outdoor places.

The grindhouse was never at a loss for cash. But ideas were frequently in short supply. As it grew in popularity, exploitation entrepreneurs soon realized that almost any subject matter was ripe for the perverted picking. It didn’t matter how strange or antithetical it was to the entire raincoat concept – as long as it could be molded into money, they’d peruse it. But no one took this issue to more arcane extremes than Florida filmmaker William Grefé. In love with all things natural and outdoorsy, he originally got his start as a TV scribe. While working on his first official feature – the routine racecar flick The Checkered Flag - the director got sick, and the producer pegged him to finish it off. Bringing the movie in on budget and on time, the success of the drive-in drama bought Grefé a chance to follow his own muse.


Over the course of the next two decades, he would helm features following the dangers of the drug craze (The Hooked Generation), badass biker gangs (Wild Rebels) and the strange allure between man and animal (Stanley, Mako: Jaws of Death). But perhaps no two films were more endemic of his artistic temperament than his initial Everglades extravaganzas – Sting of Death and Death Curse of Tartu. Each used the sweet swamp boogie of the Sunshine State to focus on standard passion pit predicaments like murder, horror, sex and skin, and while one is far superior to the other, both showed that, in the hands of a capable craftsman, almost anything could be considered carnal…or commercial.


Sting of Death (1965)

Over at the Richardson residence, little Karen has just returned from college. And she’s brought along a group of hearty, partying matriculating compatriots to partake of the seemingly bottomless parental hooch. She finds her father, a rather urbane ichthyologist and his hunky, hopefully hetero assistant Dr. Hoyt working on their latest experiment. Daddy’s got a PhD in quantum jelly-fishery and he, along with Hoyt and a mangled manservant named Egon, are trying to determine why squishy Portuguese jam jockeys are so tasty in Kyoto style sushi. Karen’s friends find the physically deformed Egon amusing, in a kind of sideshow attraction carnival worker sort of way. They celebrate their superior Aryan perfection (and Egon’s dashed ego) by dancing poolside to a song about gelatinous marine blobs.


Little do our sun and fun loving youngsters know that the object of their ridicule has an invertebrate plan all his own. Egon has been following in the fish doctor’s foul and fetid finsteps and he’s discovered a way of giving new meaning to the term man o’war. He fiddles with some knobs, does the standard mad scientist thang, and right before our eyes, he becomes a half-human/half super elastic bubble plastic jellyfish creature. And naturally, the first objective on his agenda is to use his awesome Sting of Death to get a little revenge on Karen’s clan for all their peer pressure rejection.


Sting of Death was Grefé‘s first post stock car raceway experiment, and it definitely shows. With a retrograde retarded revenge premise that’s goofier than going skinny-dipping with sand fleas, and plenty of booty bumping business between the secondarily educated, you’d expect your standard b-movie monkey business. But thanks to some sequences of surreal science and a hilarious topic-specific tune by guest vocalist Neal Sedaka playing in the background, what we end up with is a real weird winner. Indeed, along with “A Heart Dies Every Minute” from Doctor Gore and “You Can’t Fart Around with Love” from Roseland, Neil’s natty “Do the Jellyfish” is one flaky, fantastic groove, a welcome addition to that ever-growing grand exploitation canon of cracked pop songstyling.


While it may not seem possible to forgive him for foisting the Captain and his mad cow matron wife Tenille on us from 1974 forward, or that “Bad Blood” barf with Sir Elton John, Neal’s “hip” factor raises the ludicrous level of several segments with his wacky ode to the floppy surf aspic. Anyone who can rhyme ‘Cinderella’ with ‘jellyfish’ (well, kinda) deserves some concrete kitsch kudos. But again, Sedaka’s backdoor braying is not the only freakishly funny thing here. Our main creature is something straight out of a homeless man’s personal wardrobe, what with its soiled scuba suit skin, hose pipe tentacles, and inflated Hefty bag head. Some crushed aluminum cans for proper accessorizing and we’d have the complete skid row ensemble.


All visual vacancy aside, Sting does manage to make us care about the characters, especially the incredibly put upon antihero Egon. Just because he’s facially scarred, with a lazy eye, and even duller sense of self worth, doesn’t mean it’s perfectly acceptable for the gang of groovy social snobs to disrespect him. And they are so mean spirited that you yourself will have Junior High School wallflower flashbacks. As an audience, we develop so much pent up vigilantism at his unnecessary berating that we can’t wait for Egon to mutate and whip a little college creep butt. And when he meets the great fishmonger in the sky, you just may weep a tiny tear…or maybe not. Sting of Death is Beauty and the Beast mixed with an order of Japanese Kurage Su to create a deliciously disturbed delight.


Death Curse of Tartu (1966)

Tartu is just your average workaday witch doctor. The fact that he is a shape-shifting member of the undead merely accentuates his multi-faceted nature. When a bunch of Everglades invaders disturb his everlasting beauty sleep, our miffed mutating madman turns into all manner of swamp beasties so he can quiet the rebel rousing and have a Sealy Posturepedic afterlife. But this won’t faze bored archeology students on Spring break. They see Tartu’s ancestral burial grounds and proceed to go-go dance all over them. So now, not only is he overtired (he gets cranky without his usual 400 years of rest), but he’s been blasphemed as well.


It isn’t long before kids start croaking at the paws, teeth, and scales of mysteriously manifesting critters. Turns out that, when visiting the Sunshine State for a little post exams debauchery, fast talking con men with video cameras and beads are not the only thing to be avoided during binge drinking fueled fun. One should look out for the animalistic antics associated with a four-century-old coffin bound party pooper, a walking corpse who is more than happy to put the Death Curse of Tartu on your book learned behind.


Death Curse of Tartu is a perfect illustration of the aforementioned anomalous approach to exploitation filmmaking. It has a proactively perverse premise - the reanimated corpse of an ancient Seminole Indian witch doctor wrecks havoc on naïve Florida tourists - and the trademark cheesy effects of a typical grade Z quagmire terror fest. But in this case, all the Roquefort in Romania can’t seem to enliven this stilted Stilton saga. Maybe it’s the fact that, as a boogeyman, Tartu doesn’t actually do a great deal. He opens his eyes, rolls over in (and around) his grave, and turns into an angry crawdad to gumbo his victims to death. After just a couple of these creature reconfigurations, we get the distinct impression that a one narrative note is about to beat its plotline pony over and over again.


Tone may also be Tartu’s unmaking. It’s awfully supercilious when it should be just silly. Instead of camp, we get camp-ing. Instead of schlock, we get stock footage leftover from Mutual of Omaha’s Mild Kingdom. It is kind of hard to get wacky enjoyment out of flesh feasting sharks, slithery snakes, and jaw chomping gators, especially when everything is handled in a matter of fact, no real suspense fashion. And who knew that zombie death murders via shape shifting spooks happen seasonally in America’s retirement capital. That’s definitely something you don’t see in the standard tourist travelogue.


About the only thing that keeps you alert during this turgid Tartu is Grefé‘s apparent fascination with the wiggling derriere. Whenever the bopping rock and roll score comes on, the middle-aged teens who are supposed to represent the future of our great land bump and grind like Shriners at a convention - and big Bill’s camera captures their hyper extending hinders in all of their rump shaking glory. If you imagined the Okefenokee Swamp as a slightly more humid Camp Crystal Lake and a dirty-bandaged ex-pool man/tennis pro as Jason Voorhees, you’d have Death Curse of Tartu, except with a lot less blood and laugh letting.


 


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Saturday, May 19, 2007

Having previously offered a theory of boredom I read this post by blogger A White Bear with great relish. AWB claims to love boring art and cites slow and spare Antonioni films as examples of what she is talking about. I usually think of boredom as a character flaw, as a quality in the subject rather than the object, a kind of impatience with reticent, lulling things. But AWB suggests an aesthetics of boredom that hinges on a lack of “narrative necessity.” So-called boring things don’t provide that ready path for one’s mind to rush down, instead they perplex and retard the imagination, force the mind back on itself and make it do a lot more work to remain engaged. Boredom opens up a space for languid speculation, for productive frustration, for conceiving several concurrent hypotheses about what the hell the point is. Works that supply “excitement” often close off the speculative space, hurrying consumers along to largely predictable outcomes that nevertheless are experienced as suspenseful. No one doubts that the killer will be killed in a film like, say, Disturbia,yet nonetheless this pass as suspense. Something truly unpredictable—Antonioni’s L’Avventura, for example—can often seem boring in its aimless meandering. Boredom, then, stems from the absence of familiar genre conventions or recognizable rhythms.


AWB argues that the suspended nature of boring works gives them an erotic quality—the jouissance of the endlessly deferred climax transfered to a text that denies closure, that refuses to put forward a organizing principle that allows you to put everything in place. The unstructured material forces you to contemplate it for its own sake, in the moment, and that inspires a sensuality that comes to the surface when we starve the rational, puzzle-solving side of our brains. AWB sees this as a minor pleasure, dubbing it masturbatory—“satisfying without satiating.”


I don’t think I would describe masturbation that way. But is it true that details become more erotic as they become more arbitrary? In another post, AWB defines pornography in a similar way, as “a rhetorical mode” that lulls readers into vicariousness with its repetition and details for details’ sake. The danger of vicarious experience—what makes pornography immoral in AWB’s view—is that it supplants a reader’s direct experience of the world with texts, simulations. Here, I become skeptical, as I’m not sure how you distinguish authentic experience from simulated experience in our recursive world of late-capitalist consumerism. Most of our experience is already mediated, already in a sense secondhand, vicarious. Thus vicarious experience is virtually indistinguishable from lived experience, which if we encountered it, we’d probably reject as “boring” since it comes free of an interpretation, free from having been slotted into some pseudo-glamorous niche after having being represented elsewhere as entertainment, as worthy of rapt attention.


I would argue that the vicarious experience from texts prepares us to conceive and process our lived experience in certain prepackaged ways—it makes our own experience legible to ourselves, give it forms that are amenable to being stored as memories. Vicarious experience through entertainment also reinforces patterns of emotional satisfaction serviced by consumerism. I would define the pornographic not in terms of its arbitrarity but its instrumentality, how it facilitates the most convenient route to a precisely delimited goal. It makes emotional responses rote in a way that pleases us, the same way genre conventions keep us from being bored. Porn is sort of the ur-genre, I think, not a suspension of narrativity. It does aspire to a transparency that effaces textuality—the formal qualities and the careful word choices and the other things that make us pay attention to the medium itself; boring things force us to contemplate the nature of the medium, halting mediation.


I completely agree that consumers prefer what AWB calls the rhetorically pornographic because it protects us from the messiness of actual experience, which involves other people. (I make the porn=convenience argument here.)


I don’t want to moralize here about these aesthetic aspects of pornography, although a great deal of my dissertation is about the social and political issues that arise when readers begin to confuse texts for experience, and to privilege fictional characters’ experiences over their own, which partly happens because of the near-pornographic rhetorical nature of scenes, for example, in Pamela. But what is obvious, over the past three hundred years of mass print culture, and then mass art, music, and film cultures, is that the public always craves the rhetorically pornographic, especially when it does not explicitly offend a prudish sexual sensibility.
There is a fine line, in fact, that “pop” tends to walk now, between providing the pretense of an unmediated experience of something sensory and representing actual sex. My very prim, religious students are reduced to puddles by passages like the one from Dracula above, which gives them something almost like an experience without any of the messy complications of consequences or interpersonal relations, which is why, I think, they place such an outlandish value on their ability to experience along with every text…. What bothers me most is that they seem not to know the difference between reading and doing anymore.



I don’t think rhetorical porn—material that invites vicarious absorption—promises unmediated experience; I think it promises the pleasures of the precisely mediated. The transcendence (being above the action, it having been designed for you) compensates for the apparent passivity of vicariousness—whether or not the interpretative effort is passive, whether it is not a kind of activity to suspend disbelief and let yourself be absorbed by a text, is a different question. (This question reminds me that I should probably re-read Michael Fried’s Absorption and Theatricality.) This doesn’t efface the personality of the reader so much as remove it from the field of play, where it can take on the illusion of completeness, of being untouchable, of not being altered by experience.


Our relations with texts (be they films, books, crap bought at the mall or whatever) have the potential not so much replace our experience of reality, of other people, but format it so that it becomes instrumentalized. Reading and doing become the same thing, and not merely because so much of social existence is about interpreting signals and signs. Rather, the reader/doer presumes himself to be at the center of his own drama, with everything occurring around him seeming to have been designed solely for his amusement. This has the effect of granting identity to the reader, when seductive texts call out for one’s attention, interpolating the reader as an individuated subject, as Althusser argues in his essay about ISAs. The protagonists in pornographic literature may become interchangeable, but in so becoming they protect the reader from the fate of anonymity; the reader becomes the stable center around which the dance of anonymous entities and the highly detailed sensations recorded through them are choreographed.
(Hence compulsive self-revelation on the internet as a means to extend self-dramatization; a new tool to further a goal as old as print. Incidentally, my big research topic when I was a graduate student was about how vicarious experience was developed and systematically commercialized in 18th century novels. AWB’s dissertation sounds like one I would want to read, especially if it is as well-written as her blog is.) The way our entertainment patronizes us prepares us for life in this hermetic bubble. When entertainment bores us, that’s because it is forcing us outside of that bubble. (Porn is never boring in this sense; when clicking through channels randomly, while marooned in a hotel maybe, I never fail to pause when I hit porn; it’s compelling as the most concentrated form of mediation, perhaps—the most instrumental of entertainments, which all aspire to manipulate us with ease.) All that to say that I think what AWB is noticing in her students is the expectation that life itself shouldn’t ever transcend the level of vicarious experience, that life should never be anything more than entertaining.


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Saturday, May 19, 2007

What is the point of Twitter?  This is not a rhetorical question; I’ve just been wondering ever since I read about it, in a surprising number of places—Wall Street Journal, Wired, Lifehacker, Boing Boing, Marginal Revolution (I think). Is the goal to elevate non-descriptness to an art form (one of my personal mottoes)? Is it an extension of the idea behind happiness research, where you wear a monitor that prompts you to record your hedonic well-being every so often? Is it intended to dignify everyday life as the locus of struggle and praxis? Is it a hymn to concision? Or is it just yet another way to turn the most powerful communication tool humans have yet devised into a mirror?


The point seems to be to encourage self-disclosure by taking away the intimidating open-endedness of the blank page, but do we really need more self-disclosure? Seems like there’s far too much of it already. This recent Psychology Today story, “The Decline and Fall of the Private Self,” investigates what makes people want to discuss themselves in public, and it airs the usual point that electronic media is disinhibiting (more than a few drinks! the article teases). But what does disinhibition end up meaning exhibitionism? Couldn’t it be that full disclosure is a compulsion that we are inhibited from refraining from? That we feel compelled to tell-all and that disinihibition could grant us the freedom to shut up?


Another common explanation for the Web blah-blahing the story touches on is the notion that we have to have media attention to validate our lives—the idea that, for instance, if you don’t have a Facebook page you aren’t really in college.


A blog makes your mundane life into an electronic saga that turns you into something more than an anonymous drone in a technological and impersonal world. “You now have a story and perhaps you’ve even become the focus of other watchers and listeners,” says Singer. “You become a character, a speaking part, in the larger theater of society.” Even if you’re playing the role of the loser—blogging about being unhappy and unattractive—at least you’re part of the show.


Sign me up for loser, and make sure it is as public a humilation as possible—that sounds great, very validating.


Just because there’s an audience, that doesn’t mean anyone’s actually paying attention. And being just an extra is probably worse than being in the audience. How does desperate self-publicity make one less anonymous? Haven’t these people seen MySpace? Nothing can be more anonymous than being one voice among many self-involved voices out there (I know; re: this blog); at least in imagination your self-aggrandizing story isn’t suffocated by the vast competition. In fact, personal blogs and social networking sites often seem to reinforce the mundaneness of selfhood, the limited and unimaginative options we fall back on—the size of our networks seems to merely emphasize our ultimate insignficance, as they loom disproportionately over what we can meaningfully process.


Are future generations in fact doomed to grow up with the idea that their internal monologues must be heard in order to be worth listening to themselves. Do they not recognize what they themselves are thinking until assured that someone else can see and comment on it as well? Externalizing our fantasies about our self-importance would seem to actually negate them, refute them—it’s what you would prescribe to someone who was too Walter Mittyish, even. The Psychology Today story suggests as much when it explains how confessing secrets online can be therapeutic and relieve stress.


He’s right: Telling secrets has been shown to have a positive effect on the person who’s doing the confessing, because keeping them requires a lot of mental work. Wegner has found that actively trying to suppress a thought (like trying not to think about a white bear) actually seems to repeatedly refresh your mental browser and bring it to mind. “It’s almost as though there’s a little corner of the mind that’s looking for the very thing you’re trying not to think about,” he says. Sharing the secret, though, “unprimes” the information, freeing the mind to focus on other things and breaking the cycle of worry. By recounting their sins and lapses, the AA member and the blogger can unload pesky thoughts and mull more productive ones for the rest of the day.


Maybe so. I’m convinced though that the less I think about myself, the better I am doing. So narrating the minutiae of my worries in unsublimated form would be like a sentence to purgatory for me.


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