Film

The Front Page: The Lady's Man - Mickey Hargitay (1926 - 2006)

He was more of a fashion accessory than a celebrity, a chiseled example of Hungarian beefcake perfectly complementing his wife's over-sexualized cheese. But there was more to Mickey Hargitay than as brawn to Jayne Mansfield's buxom beauty. While together they may have resembled biology gone baroque, individually, Hargitay and his much more famous bride were athletics and oranges. She was a considered caricature of the era's leading visage of sensual beauty. Her talent was never measured in performances, but in appearance. For the rest of her tragically short life, Jayne Mansfield would fight against her summarization as a sex object, trying to avoid being championed solely on her chest. For her foreign born husband however, physicality was all he had.

Born into an athletic family (the Hargitay's frequently preformed as an acrobatic troupe in their native Hungary), bodybuilding was not young Miklos' first passion. He was a championship ice skater, and skilled at soccer. It wasn't until he came to America in the 1940s to escape his country's compulsory military service that he discovered the joys of muscle training and toning. Considered by most to be an odd, even perverted obsession with the human form, there was very little fame, or fortune, in being a muscleman. Yet the minute he discovered the joys of the gym, Hargitay proved he was a natural at the fledging sport and it wasn't long before he was winning titles long dominated by Americans. In 1955, Hargitay was crowned Mr. Universe, matching the accomplishment of his inspiration and idol, Steve Reeves.

The surrounding recognition finally placed him within the flickering cultural spotlight. The saucy old school actress and nightclub personality Mae West – never one to pass up a well-built body – immediately hired Hargitay to be part of her revue in New York City. Suddenly, the untrained 30 year old was appearing before cosmopolitan crowds, the leering butt of West's wicked wordplay and entendres. One night, reigning Broadway novelty Jayne Mansfield came to the Latin Quarter club to catch West's act. The legend goes that, when asked what she was interested in that evening, Mansfield cooed "I'll have a steak…and that man on the left". Soon, Hargitay and his newfound heartthrob were inseparable.

They married in 1958. Hargitay went on to take a few small roles in Mansfield's movies, including the triumphant big screen translation of her Great White Way hit Will Success Spoil Rock Hunter? He even got to mimic his inspiration Reeves by portraying the mythic strongman in 1960's The Loves of Hercules. It wasn't long though before the novelty of both Hargitay and his honey started wearing off. After his stint hosting a TV exercise program and her string of unsuccessful starring roles, the couple soon found themselves working within the ridiculed realm of exploitation. In 1963, Mansfield bared all for the camera with Promises! Promises!, and 1964 saw Primitive Love, a sort of sex comedy spoof on the Mondo movie craze sweeping cinema.

Like all pairings that seem more aesthetically than interpersonally pleasing, Hargitay and Mansfield grew apart, then divorced. Taking custody of the three kids (including future Emmy winner and Law and Order star Mariska) and attempting to find a place in the unforgiving realm of fame, the more or less lost 41 year old wasn't prepared for the shocking news of his ex-wife's gruesome death in 1967. Reduced to performing a puerile, tacky club act overloaded with insinuation and kitsch, Mansfield was traveling between shows when her car was hit, head on, by a semi-tractor trailer truck. Killed almost instantly, the resulting carnage was brutal, becoming a media milestone in the still developing realm of tabloid journalism. The grindhouse gang even utilized the ghastly accident scene photos for an incredibly distasteful "documentary" on the actress entitled The Wild, Wild World of Jayne Mansfield. Of course, a grieving Hargitay and his children were featured in all their devastated sorrow.

Now totally on his own, celebrity wise, Hargitay tried. He played a sadistic figure of vengeance in the Eurotrash classic The Bloody Pit of Horror, and starred in a few low budget Italian genre efforts. Yet by the mid 70s, his uniqueness had all but worn off. Mission: Impossible had given Peter Lupus (another noted bodybuilder) a shot at stardom, and he had proven much more versatile. Besides, another Eastern European was establishing his muscle man credentials on the circuit, and by the time of Hargitay's final film role in 1973's Rites, Black Magic and Secret Orgies in the Fourteenth Century, Arnold Schwarzenegger was on his way to his third straight Mr. Olympia title – and future superstardom. By the '80s, Hargitay was nothing more than a footnote, a forgotten figure in the life of an equally lapsed "love goddess". In one of those ironies that only show business can support, a 1980 biopic of Mansfield featured Schwarzenegger as Jayne's buff better half.

His latter years were not empty. Hargitay had remarried in 1967, and new wife Ellen would be his last life partner, remaining by his side until his death from multiple myeloma at age 80 on 14, September of this year. Hargitay had also been successful in business, and Schwarzenegger often pointed to him as the role model by which he modeled his professional and athletic career. Daughter Mariska slowly built her resume in Hollywood, and now stands as one of TV's dramatic powerhouses. And thanks to the archival aspect of the new home video revolution, much of his and Mansfield's dismissed work has enjoyed a kind of kitschy, cornball nostalgia. Yet lost within all this retro revisionism and show business scavenging is a wholly forgotten fact. Hargitay and Mansfield represented the beginnings of the body objectification that the present day pop culture lives by.

Unlike Marilyn Monroe, or the more obvious examples of sexual stardom to come, Jayne Mansfield was a classic cartoon, carnal in only the way an over-inflated dish like she could be. And in the world of corporeal synchronicity, she required a man large enough to fit her copious and unapologetic feminine fertility. Hargitay, all tight skin sculpting and Greek god idolatry, was the perfect personal accompaniment. He was considered male model of machismo - a manlier Steve Reeves, a less militant Jack La Lanne. Better yet, he proved that a few hours in the gym and some minor consideration for the way one looked could and would land you the sex siren straight out of the pages of those newfangled "men's" magazines. They were the Tommy Lee and Pamela Anderson of the Eisenhower era, the Nick and Jessica of the pre-Camelot crowd. In a world not ready for outright discussions of lust and physical love, Mansfield and Hargitay represented the possibility, and the problems, associated with same.

Sadly, with his passing, Hargitay takes with him the last vestiges of that time. The couple's infamous 'Pink Palace' – a cheesy mansion complete with a heart-shaped swimming pool – has long been raised by the current owner, and the seemingly outrageous physical forms that the couple carried have been usurped by individuals buying completely into the omnipresent plastic surgery concept of personal success. In a time where overweight businessmen accompanied their haggard housefrau wives to the local hot spot for a few potent potables and a little so-called sophisticated entertainment, Mansfield and Hargitay were said ideal's illustrated Id. Now, they are just forgotten facets of a pre-revolution sexuality.

From genre-busting electronic music to new highs in the ever-evolving R&B scene, from hip-hop and Americana to rock and pop, 2017's music scenes bestowed an embarrassment of riches upon us.


60. White Hills - Stop Mute Defeat (Thrill Jockey)

White Hills epic '80s callback Stop Mute Defeat is a determined march against encroaching imperial darkness; their eyes boring into the shadows for danger but they're aware that blinding lights can kill and distort truth. From "Overlord's" dark stomp casting nets for totalitarian warnings to "Attack Mode", which roars in with the tribal certainty that we can survive the madness if we keep our wits, the record is a true and timely win for Dave W. and Ego Sensation. Martin Bisi and the poster band's mysterious but relevant cool make a great team and deliver one of their least psych yet most mind destroying records to date. Much like the first time you heard Joy Division or early Pigface, for example, you'll experience being startled at first before becoming addicted to the band's unique microcosm of dystopia that is simultaneously corrupting and seducing your ears. - Morgan Y. Evans

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Music

The Best Dance Tracks of 2017

Photo: Murielle Victorine Scherre (Courtesy of Big Beat Press)

From the "shamanic techno" of Parisian duo Pouvoir Magique to Stockholm Noir's brilliant string of darkly foreboding, electro-licked singles, here are ten selections that represent some of the more intriguing dance offerings of 2017.

In June of 2016, prolific producer Diplo lambasted the world of DJ's in an interview with Billboard, stating that EDM was dying. Coincidentally enough, the article's contents went viral and made their way into Vice Media's electronic music and culture channel Thump, which closed its doors after four years this summer amid company-wide layoffs. Months earlier, electronic music giant SFX Entertainment filed bankruptcy and reemerged as Lifestyle, Inc., shunning the term "EDM".

So here we are at the end of 2017, and the internet is still a flurry with articles declaring that Electronic Dance Music is rotting from the inside out and DJ culture is dying on the vine, devoured by corporate greed. That might all well be the case, but electronic music isn't disappearing into the night without a fight as witnessed by the endless parade of emerging artists on the scene, the rise of North America's first Electro Parade in Montréal, and the inaugural Electronic Music Awards in Los Angeles this past September.

For every insipid, automaton disc jockey-producer, there are innovative minds like Anna Lunoe, Four Tet, and the Black Madonna, whose eclectic, infectious sets display impeccable taste, a wealth of knowledge, and boundless creativity. Over the past few years, many underground artists have been thrust into the mainstream spotlight and lost the je ne sais quoi that made them unique. Regardless, there will always be new musicians, producers, singers, and visionaries to replace them, those who bring something novel to the table or tip a hat to their predecessors in a way that steps beyond homage and exhilarates as it did decades before.

As electronic music continues to evolve and its endless sub-genres continue to expand, so do fickle tastes, and preferences become more and more subjective with a seemingly endless list of artists to sift through. With so much music to digest, its no wonder that many artists remain under the radar. This list hopes to remedy that injustice and celebrate tracks both indie and mainstream. From the "shamanic techno" of Parisian duo Pouvoir Magique to Stockholm Noir's brilliant string of darkly foreboding, electro-licked singles, here are ten selections that represent some of the more intriguing dance offerings of 2017.

10. Moullinex - “Work It Out (feat. Fritz Helder)”

Taken from Portuguese producer, DJ, and multi-instrumentalist Luis Clara Gomes' third album Hypersex, "Work It Out" like all of its surrounding companions is a self-proclaimed, "collective love letter to club culture, and a celebration of love, inclusion and difference." Dance music has always seemingly been a safe haven for "misfits" standing on the edge of the mainstream, and while EDM manufactured sheen might have taken the piss out of the scene, Hypersex still revels in that defiant, yet warm and inviting attitude.

Like a cheeky homage to Rick James and the late, great High Priest of Pop, Prince, this delectably filthy, sexually charged track with its nasty, funk-drenched bass line, couldn't have found a more flawless messenger than former Azari & III member Fritz Helder. As the radiant, gender-fluid artist sings, "you better work your shit out", this album highlight becomes an anthem for all those who refuse to bow down to BS. Without any accompanying visuals, the track is electro-funk perfection, but the video, with its ruby-red, penile glitter canon, kicks the whole thing up a notch.

9. Touch Sensitive - “Veronica”

The neon-streaked days of roller rinks and turtlenecks, leg warmers and popped polo collars have come and gone, but you wouldn't think so listening to Michael "Touch Sensitive" Di Francesco's dazzling debut Visions. The Sydney-based DJ/producer's long-awaited LP and its lead single "Lay Down", which shot to the top of the Hype Machine charts, are as retro-gazing as they are distinctly modern, with nods to everything from nu disco to slo-mo house.

Featuring a sample lifted from 90s DJ and producer Paul Johnson's "So Much (So Much Mix)," the New Jack-kissed "Veronica" owns the dance floor. While the conversational interplay between the sexed-up couple is anything but profound, there is no denying its charms, however laughably awkward. While not everything on Visions is as instantly arresting, it is a testament to Di Francesco's talents that everything old sounds so damn fresh again.

8. Gourmet - “Delicious”

Neither Gourmet's defiantly eccentric, nine-track debut Cashmere, nor its subsequent singles, "There You Go" or "Yellow" gave any indication that the South African purveyor of "spaghetti pop" would drop one of the year's sassiest club tracks, but there you have it. The Cape Town-based artist, part of oil-slick, independent label 1991's diminutive roster, flagrantly disregards expectation on his latest outing, channeling the Scissor Sisters at their most gloriously bitchy best, Ratchet-era Shamir, and the shimmering dance-pop of UK singer-producer Joe Flory, aka Amateur Best.

With an amusingly detached delivery that rivals Ben Stein's droning roll call in Ferris Bueller's Day Off , he sings "I just want to dance, and fuck, and fly, and try, and fail, and try again…hold up," against a squelchy bass line and stabbing synths. When the percussive noise of what sounds like a triangle dinner bell appears within the mix, one can't help but think that Gourmet is simply winking at his audience, as if to say, "dinner is served."

7. Pouvoir Magique - “Chalawan”

Like a psychoactive ayahuasca brew, the intoxicating "shamanic techno" of Parisian duo Pouvoir Magique's LP Disparition, is an exhilarating trip into unfamiliar territory. Formed in November of 2011, "Magic Power" is the musical project of Clément Vincent and Bertrand Cerruti, who over the years, have cleverly merged several millennia of songs from around the world with 21st-century beats and widescreen electro textures. Lest ye be worried, this is anything but Deep Forest.

In the spring of 2013, Pouvoir Magique co-founded the "Mawimbi" collective, a project designed to unite African musical heritage with contemporary soundscapes, and released two EPs. Within days of launching their label Musiques de Sphères, the duo's studio was burglarized and a hard drive with six years of painstakingly curated material had vanished. After tracking down demos they shared with friends before their final stages of completion, Clément and Bertrand reconstructed an album of 12 tracks.

Unfinished though they might be, each song is a marvelous thing to behold. Their stunning 2016 single "Eclipse," with its cinematic video, might have been one of the most immediate songs on the record, but it's the pulsing "Chalawan," with its guttural howls, fluttering flute-like passages, and driving, hypnotic beats that truly mesmerizes.

6. Purple Disco Machine - “Body Funk” & “Devil In Me” (TIE)

Whenever a bevy of guest artists appears on a debut record, it's often best to approach the project with caution. 85% of the time, the collaborative partners either overshadow the proceedings or detract from the vision of the musician whose name is emblazoned across the top of the LP. There are, however, pleasant exceptions to the rule and Tino Piontek's Soulmatic is one of the year's most delightfully cohesive offerings. The Dresden-born Deep Funk innovator, aka Purple Disco Machine, has risen to international status since 2009, releasing one spectacular track and remix after another. It should go without saying that this long-awaited collection, featuring everyone from Kool Keith to Faithless and Boris D'lugosch, is ripe with memorable highlights.

The saucy, soaring "Mistress" shines a spotlight on the stellar pipes of "UK soul hurricane" Hannah Williams. While it might be a crowning moment within the set, its the strutting discofied "Body Funk", and the album's first single, "Devil In Me", that linger long after the record has stopped spinning. The former track with its camptastic fusion of '80s Sylvester gone 1940s military march, and the latter anthem, a soulful stunner that samples the 1968 Stax hit "Private Number", and features the vocal talents of Duane Harden and Joe Killington, feels like an unearthed classic. Without a doubt, the German DJ's debut is one of the best dance records of the year.

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