V

Vergeltungswaffen—German for “vengeance weapon,” as in V-2 rocket, a weapon of revenge, retribution, and reprisal. Prompted by the box-office success of the Gerard Butler-starring vigilante movie Law Abiding Citizen this past weekend, an article in today’s L. A. Times explores the link between vigilantism and vengeance in American movies. The link is indisputably true—the vigilante is as old as D. W. Griffith’s Birth of a Nation (1915), in which a rogue terrorist organization, the Klan, is depicted heroically—but vigilantism (the act of operating outside the law) should not always be equated with vengeance (retribution). Revenge is a force that crosses film genres, as the article observes, and it is true that there are indeed “affinities between vigilantes and superheroes”—the character of Batman, for instance, whose traumatic origin was in witnessing the cold-blooded murder of his parents. The character’s origin is, of course, a conceit, revealing more about the logic of entertainment than about the motives for vigilantism.

Vengeance, retribution, reprisal—getting even—is a powerful motivating force, and the cinema seems to be the ideal medium in which to enact its violent display. The reason seems obvious: justice is an abstraction, and because it often unfolds slowly, it makes a poor subject for drama. Moreover, stories of vengeance ideally fit the Modernist paradigm, the individual pitted against (corrupt) society. Since the justice system is an incalculably complex bureaucracy, and filled with corrupt officials, the individual necessarily operates outside the system, as a rogue (vigilante), often using a gun as his or her vergeltungswaffen. The American vigilante descends from the gunslinger, the streets of the big city analogous to the lawless frontier. Although the gun is the vigilante’s preferred weapon, I’ve always found figures such as Dr. Phibes and the Crypt Keeper much more imaginative in the way they enact a form of poetic justice.

V For Vengeance (x13):
The Virgin Spring (1960)
Once Upon A Time in the West (1968)
The Abominable Dr. Phibes (1971)
Tales From the Crypt (1972)
High Plains Drifter (1973)
Walking Tall (1973)
Death Wish (1974)
The Exterminator (1980)
An Eye For An Eye (1981)
Vigilante (1983)
The Brave One (2007)
Taken (2009)
Law Abiding Citizen (2009)

How The West Was Won

In the chapter of Tristes Tropiques entitled “A Little Glass of Rum,” Claude Lévi-Strauss observed that anthropology is born of remorse. In Of Grammatology, the now famous deconstruction of Tristes Tropiques, Jacques Derrida observed that Lévi-Strauss’s critique of ethnocentricism had the function of “constituting the other as a model of original and natural goodness,” by engaging in the act of “accusing and humiliating oneself.” The impulse behind such reverse ethnocentricism is romantic and, ultimately, racist. Like Rousseau’s Confessions, it imagines non-European peoples “as the index to a hidden good Nature, as a native soil recovered, of a 'zero degree' with reference to which one could outline the structure, the growth, and above all the degradation of our society and our culture.”

Several years prior to the 1967 publication of Derrida’s book, Theodora Kroeber, wife of anthropologist Alfred Kroeber, published Ishi in Two Worlds (1961), “A Biography of the Last Wild Indian of North America,” which explores the degradation of Ishi’s tribe and culture. A few years later, Kroeber issued a partially fictionalized version of Ishi’s story under the title Ishi: Last of His Tribe (1964). (Recently, in 2003, her sons Karl Kroeber and Clifton Kroeber co-edited a book on the Ishi affair, Ishi in Three Centuries, the first scholarly book on the subject to contain essays by Indians.) There were popular songs about Indians before the publication of Theodora Kroeber’s first book on Ishi in 1961, of course—“Indian Love Call,” “Oklahoma Hills,” and Hank Williams’ “Kaw-Liga”—but beginning in the Sixties, many songs were written celebrating the Indian as an emblem of natural goodness, mightily sinned against. They might be understood as songs expressing remorse, but by engaging in self-accusation and self-humiliation.

Songs About The Indian:
John Anderson – Seminole Wind
Brooks & Dunn – Indian Summer
The Cowsills – Indian Lake
Elton John – Indian Sunset
Merle Haggard – Cherokee Maiden
The Holy Modal Rounders – Indian War Whoop
Johnny Horton – Comanche (The Brave Horse)
Johnny Horton – Jim Bridger
Jeanette MacDonald and Nelson Eddy – Indian Love Call
Tim McGraw – Indian Outlaw
John Mellencamp – Hot Dogs and Hamburgers
Johnny Preston – Running Bear
Paul Revere & The Raiders – Indian Reservation
Hank Thompson – Oklahoma Hills
Hank Williams – Kaw-Liga

Flowers

Flowers smack of sentimentality. They’ve become a cultural symbol upon which an entire economy thrives—the flower shop. “Say it with flowers”—flowers presumably speak when words fail, yet can say more than the words themselves. The trouble is, flowers are maudlin, mushy, and mawkish, redolent of schmaltz and hokum. “I’m sending you a big bouquet of roses,” sang Eddy Arnold, “one for every time you broke my heart. As the door of love between us closes/Tears will fall like petals when we part.” In the 1960s, flowers were usurped by hippies and deployed as symbols of peace and love, rendered most famously by Scott McKenzie’s “Summer of Love” song, “San Francisco (Be Sure To Wear Flowers In Your Hair),” as well as by the image of the flower placed in the barrel of a soldier’s gun. (Donovan’s 1967 album, A Gift From a Flower To A Garden, issued in December of that year as a lavish two-record set, was, according to a blurb by Rob O’Connor found on Amazon.com, “sincerely meant as a possible present for the hippie who has everything.”)

In “Daffodils,” poet William Wordsworth associated flowers—or rather, the daffodil—with pleasurable self-contentment. (That is, if you assume he actually wrote the poem. Ken Russell, in his 1978 Wordsworth bio-pic Clouds of Glory: William and Dorothy, includes a scene in which the Wordsworth character, played by David Warner, tells an admirer that “Daffodils” was a poem composed by his sister—that the poem consists of his “sister’s words.” In exploring the most unusual relationship between William Wordsworth and his sister Dorothy, it seems Ken Russell, more so than any other filmmaker, seems to understand that art can come from the strangest of places.) Of the dazzling field of daffodils, Wordsworth writes:

For oft, when on my couch I lie
In vacant or in pensive mood,
They flash upon that inward eye
Which is the bliss of solitude;
And then my heart with pleasure fills,
And dances with the daffodils.

In King Vidor’s film Duel in the Sun (1946), the place where the lovers died is marked by an unusual flower known to grow nowhere else: a cactus with a large red blossom. Drawing the motif of the lovers’ graves from folklore (and perhaps Wuthering Heights as well as the poem by Marie de France, “Chevrefoil,” meaning “honeysuckle,” referring to the vine that grows up intertwining the graves of Tristan and Iseult), the cactus-flower symbolizes the lovers’ souls have become mingled in death. Some years later, in John Ford’s magnificent The Man Who Shot Liberty Valance (1962), the film’s central symbol is the cactus rose, the John Wayne character’s favorite flower, an image of “wild civility” (Herrick).

A Bouquet Of Flower Songs:
Eddy Arnold – Big Bouquet of Roses
Patsy Cline – A Poor Man’s Roses
The Cowsills – The Rain, the Park & Other Things
Vic Dana – Red Roses For A Blue Lady
Elvis – Drums of the Islands
The Four Seasons – Watch The Flowers Grow
Ian Hunter – Flowers
The Kingston Trio – Where Have All The Flowers Gone?
Scott McKenzie – San Francisco (Be Sure To Wear Flowers In Your Hair)
Mountain – Flowers of Evil
Neutral Milk Hotel – King of Carrot Flowers Pt. 1
Phil Ochs – Flower Lady
Tom Petty – Wildflowers
Johnny Rivers – Mountain of Love
The Rolling Stones – Dead Flowers
Spanky and Our Gang – Lazy Day
The Statler Brothers – Flowers On The Wall
Barbra Streisand and Neil Diamond – You Don’t Bring Me Flowers
Talking Heads – (Nothing But) Flowers
XTC – Summer’s Cauldron

Speaking of Dolls...

A remarkable serendipity occurred this morning shortly after I posted my blog on dolls, mannequins, marionettes, dummies and other forms of simulacra. After posting the entry, I checked my email to discover that my friend Jim Fields had sent me the link to the British DVD/Blu-ray website, DVDTimes, which has posted the description for the upcoming GHOST STORY DVD for which I conducted the audio commentary with director Stephen Weeks. I’d mentioned the upcoming DVD release of GHOST STORY on my blog few weeks ago, but at that point I’d been notified only of its imminent release by the DVD producer, Marc Morris of UK’s Nucleus Films. If you didn’t see my earlier blog entry, go here. When I receive my complimentary copies of the DVD from Marc Morris, I’ll provide a complete review. In the meantime, you can read the DVDTimes description here. Kim Newman calls Stephen Weeks’ GHOST STORY “A little-known gem of British spookiness,” and I concur. The film’s only previous home video release was many years ago, in the form of a pirated VHS edition, retitled for that occasion Madhouse Mansion. Avoid this slightly truncated version and pick up a copy of the 2-disc DVD set with a fully restored transfer of the film, loaded with supplements.

Guys and Dolls

Do dolls have souls? “All children talk to their toys; the toys become actors in the great drama of life, scaled down inside the camera obscura of the childish brain,” writes Charles Baudelaire. Mannequins and statues (and of course dolls, puppets, and other forms of simulacra) occupy an unusual space in our world, being neither living nor dead. Filmmakers for decades have often exploited the ambiguous cultural status of dolls, puppets, mannequins, and marionettes, often for horrific effect. “Statues are people waiting for their turn to come alive—as in the Pygmalion myth,” writes Raymond Durgnat (Films and Feelings, p. 233). Pinocchio is one such famous doll that became a living person. Durgnat cites the film One Touch of Venus (1948, based on the 1943 Broadway musical), in which Robert Walker falls in love with a mannequin (window model) of Venus. His love for her brings her alive, in the form of Ava Gardner. In Powell and Pressberger’s A Matter of Life and Death (1946) and in Les Jeux Sont Faits (1947, based on a story by Jean-Paul Sartre), the temporarily dead walk among the immobilized living: in eternity the living, paradoxically, are mannequins. Two films released in the Eighties, Weird Science (1985) and Mannequin (1987), also activated the Pygmalion myth, but Mannequin owes a significant debt to the earlier One Touch of Venus. Filmmakers the Brothers Quay generally prefer to work with dolls than live actors, becoming famous for animated films featuring dolls, such as Street of Crocodiles (a still from which is pictured).

In popular song, girls often become dolls, girl-women, adult but infantile objects of desire, their beauty likened to that of a doll (they are “placed on pedestals,” like statues). Baudelaire anticipated what he called the “puerile” future of little girls:

I am not referring to those little girls who put on grown-up airs, paying social calls, presenting their imaginary children to each other and talking about their outfits. The poor little things are copying their mothers; they are already preparing for the immortal future puerility that is theirs, and decidedly none of them will ever become my wife. (Essays on Dolls, 16)

The greatest song about a statue with a soul is Hank Williams’ “Kaw-Liga,” about a wooden indian made of pine (like Pinocchio) whose love for the beautiful indian maid in the antique store forever remains unrequited, just as one of those lovers written about in Keats’ poem, frozen forever on the Grecian urn.

Kaw-Liga was a wooden Indian standing by the door
He fell in love with an Indian maid over in the antique store
Kaw-Liga just stood there and never let it show
So she could never answer yes or no

He always wore his Sunday feathers and held a tomahawk
The maiden wore her beads and braids and hoped someday he’d talk
Kaw-Liga, too stubborn to ever show a sign
Because his heart was made of knotty pine

Poor ol’ Kaw-Liga, he never got a kiss
Poor ol’ Kaw-Liga, he don’t know what he missed
Is it any wonder that his face is red
Kaw-Liga, that poor ol’ wooden head

Kaw-Liga was a lonely indian never went nowhere
His heart was set on the Indian maiden with the coal black hair
Kaw-Liga just stood there and never let it show
So she could never answer yes or no

Then one day a wealthy customer bought the Indian maid
And took her, oh, so far away, but ol’ Kaw-Liga stayed
Kaw-Liga just stands there as lonely as can be
And wishes he was still an old pine tree

One would think the doll, the statue, the mannequin is above all the drama of life, but that is not so – yet it remains infuriatingly divine in its perpetual silence.

Required Listening:
Alisha – Do You Dream About Me? (from Mannequin)
Chuck Berry – Oh Baby Doll
Alex Chilton – Baby Doll
Foo Fighters – Statues
Larry Gatlin & The Gatlin Brothers – Statues Without Hearts
The Grateful Dead – China Doll
Buddy Knox – Party Doll
Johnny Mercer – Satin Doll
Mott the Hoople – Marionette
Oingo Boingo – Weird Science (from Weird Science)
Orchestral Manoeuvres in the Dark – Tesla Girls
Alan Parsons Project – I Robot
The Residents – Kaw-Liga
Stan Ridgway – Jack Talked (Like A Man On Fire)
Styx – Mr. Roboto
Hank Williams – Kaw-Liga

Required Reading:
Heinrich von Kleist, Charles Baudelaire, Rainer Maria Rilke, Essays on Dolls. Trans. Idris Parry. Penguin, n.d.

Mirrors

From the other side of the mirror, the Other often intrudes: the heroine sees the werewolf reflected in her vanity mirror, the vampire betrays itself by having no reflection. In Dead of Night (1945), a mirror begins to take over the room in which the heroine lives. “A mirror is a latent doppelgänger,” writes Raymond Durgnat in Films and Feelings (231). The Dark Mirror (1946) tells the story of identical twins, one good, the other evil. At a critical moment in Evil Dead 2 (1987), the hero, Ash, stops to inspect himself in the mirror—only to have his evil doppelgänger reach from the other side and grab hold of him, telling him he’s losing his mind. “Mirrors tell the truth, but in a menacing way. . . .,” observes Durgnat (231-32). Hence characters who despise what they are, or what they have become, smash the mirror and hence their own self-image. But mirrors can be also remind us in a positive way of who and what we are, as in the Velvet Underground’s “I’ll Be Your Mirror”: “When you think the night has seen your mind/That inside you’re twisted and unkind/Let me stand to show that you are blind/Please put down your hands/’Cause I see you.” Often a symbol for Narcissistic self-absorption, the mirror nonetheless frequently tells the truth: as Jean Cocteau observed, mirrors are associated with death, because we watch ourselves grow old in mirrors.

Reflections On The Mirror:
Blue Öyster Cult – Mirrors
Captain Beefheart and His Magic Band – Mirror Man
Death Cab For Cutie – My Mirror Speaks
The (English) Beat – Mirror in the Bathroom
Lefty Frizzell – I Never Go Around Mirrors
Chris Isaak – Shadows In a Mirror
Michael Jackson – Man in the Mirror
Dave Matthews Band – True Reflections
The Misfits – Die Monster Die
Joni Mitchell – Moon in the Mirror
Mott the Hoople – Through the Looking Glass
Graham Nash – Man in the Mirror
Rush – War Paint
The Velvet Underground – I’ll Be Your Mirror
The Who – Smash the Mirror

Golden Land

For the past several semesters, I’ve been teaching a course on Hollywood fiction and the Hollywood movie (films about Hollywood). The course requires students to reflect on their attitudes and assumptions about movies as a form of mass culture. Because movies are culturally ambiguous—they blur distinctions between art, entertainment, and mass communication (propaganda)—much of the writing about Hollywood has been critical of Hollywood’s detrimental impact on American life and values, often perceived both as a source of collective fantasy and as an apparatus of mass deception. According to John Parris Springer, in his fine book Hollywood Fictions: The Dream Factory in American Literature (University of Oklahoma Press, 2000), Hollywood fiction is highly critical of the influence of Hollywood and of Hollywood movies on American life and values. According to Springer, the “central cultural paradox disclosed by Hollywood fiction” is the fundamental ambivalence of Americans toward their own popular culture, their delight in, and suspicion of, the formulas of mass entertainment and their attraction to, yet distance from, the organizing ideologies and styles of mass culture. Hollywood fictions articulate deep-seated anxieties and concerns about the influence of Hollywood movies on traditional social and cultural values. Fiction critical of Hollywood emerged during the early Modernist period, which was all about self-expression (individualism). Literature shifted its focus from the social system to the individual, with society portrayed as the enemy. Hollywood fiction generally substitutes the studio system for the social system, and hence focuses on the individual’s moral battle vis-à-vis the corrupt system, Hollywood as a degrading social system that requires moral compromise in order to succeed. The features that distinguish “Hollywood fictions” from other kinds of narrative fiction are as follows:

• It has a psychological appeal: it is a literary narrative that merges 1) fascination with Hollywood as a singular and exciting “way of life” with 2) suspicion toward its moral and social influence
• Setting is transformed into character, loaded with metaphorical significance
  
• Hollywood is a “reference point” for certain social and cultural issues, a passe-partout or “pass key” to a full understanding of the values and experiences that shape America
• It is explicitly concerned with Hollywood’s moral values, the values of those who reside in the specific socio-geographical space of “Hollywood” and their influence on others.

A typical Hollywood fiction is William Faulkner’s short story “Golden Land,” published in 1935. In Faulkner’s story, Hollywood—the “Golden Land” of the title—functions as an “excessive signifier,” meaning that the location itself, the actual geographical space, has a corrosive, detrimental effect on an individual’s moral and ethical behavior. (The “excessive signifier” in a horror film is any space believed to be blighted or cursed, such as the stereotypical “haunted house.”) “Golden Land” is typically interpreted as expressing Faulkner’s disgust and dissatisfaction with Hollywood values—and by extension, consumer culture in general. The central character, Ira Ewing, is an alcoholic, the husband of a wife who has grown to hate him and the father of “Voyd,” apparently a transvestite. His daughter, April, an aspiring actress, is shockingly promiscuous. Ira’s professional success has come at the expense of his moral failure, with his ruined family used by Faulkner to symbolize the depravity and lack of traditional values found in Hollywood.

Hollywood fiction dates to the mid Teens (Springer identifies a story first serialized in Photoplay in 1916, titled “The Glory Road,” as the first Hollywood fiction, that is, a story that uses Hollywood as a means of cultural complaint). There are many famous moves about Hollywood; a few such examples include Ella Cinders (1926), What Price Hollywood? (1932), A Star Is Born (1937), Sunset Boulevard (1950), and In A Lonely Place (1950). But given that fiction critical or satirical of Hollywood emerged so early in its history, popular songs critical of Hollywood, historically considered, came rather late. I’ve listed a few of these songs below; some of them, such as the Eagles’ “Hotel California,” are rather famous. There are many other good songs not listed here, of course, but all of the songs rest upon a tradition decades old before the songs themselves were ever recorded.

Songs Of The Golden Land:
Buckcherry – For The Movies
The Clovers – Love Potion No. 9
The Doors – L. A. Woman
The Eagles – Hotel California
Guns N’ Roses – Welcome to the Jungle
The Kinks – Celluloid Heroes
The Misfits – Hollywood Babylon
Phil Ochs – The World Began in Eden But Ended in Los Angeles
Poison – Hollyweird
Stan Ridgway – Beloved Movie Star
Boz Scaggs – Hollywood
Bob Seger – Hollywood Nights
Elliott Smith – Angeles
Supertramp – Gone Hollywood

Rain

“Fantasy is a place where it rains,” writes Italy Calvino in Six Memos for the Next Millennium (Vintage, 1988). His use of “rain” is figurative, of course; our “mind’s eye” is the movie screen upon which the imagination “rains” down the images that form our fantasies. “The mental cinema is always at work in each one of us, and it always has been, even before the invention of the cinema. Nor does it ever stop projecting images before our mind’s eye” (83). Rain—the Parisian rain that announces the dissolution of love, the end of Rick and Lisa’s relationship in Casablanca, metaphorically realized by the note from Ilsa Rick reads at the train station. Rain as sadness and melancholy: the implied link between “Rainy Days and Mondays” about which the Carpenters sing. Rain as adversity, as hard times, as the bad things in life, as in James Taylor’s “Fire and Rain.”

But what about the association of rain and fantasy, poetically rendered by the image of the introspective child staring out of a window as raindrops patter against the windowpane? There are many wonderful songs about rain (e.g., Willie Nelson’s “Blue Eyes Crying in the Rain”), but the songs on the following playlist explore the connection between rain and fantasy, fantasy as a place where it is always raining. “Rainy Night in Georgia” does not simply express melancholy, but is also about the singer’s (Brook Benton’s) visual imagination, as is one of Elvis’s last truly great songs, “Kentucky Rain.” (Rain as anxiety.) For rain as the frustration of Erotic fulfillment (the Reality Principle), go here. My favorite? The Grateful Dead’s “Box of Rain.” Why? Well, as Louis Armstrong famously said, “There are some people that if they don’t know, you can’t tell them.”

Fantasy As A Place Where It Rains:
The Beatles – Rain
Brook Benton – Rainy Night in Georgia
The Carpenters – Rainy Days and Mondays
The Cascades – Rhythm of the Rain
Eric Clapton – Let It Rain
The Cowsills – The Rain, The Park & Other Things
Creedence Clearwater Revival – Who’ll Stop the Rain?
The Doors – People Are Strange
Bob Dylan – A Hard Rain’s A-Gonna Fall
Echo & The Bunnymen – Ocean Rain
Peter Gabriel – Red Rain
The Grateful Dead – Box Of Rain
Willie Nelson – Blue Eyes Crying in the Rain
The Police – Shadows in the Rain
Eddie Rabbit – I Love A Rainy Night
Prince and The Revolution – Purple Rain
Neil Sedaka – Laughter in the Rain
James Taylor – Fire and Rain
The The – Kingdom of Rain
XTC – 1,000 Umbrellas

Déclassé

Déclassé—To be demoted from a high status or rank to a lower one, especially in social status. The word déclassé is also applied to weapons considered obsolete or antiquated. It refers to that which is no longer viable or operational. The déclassé is not “kitsch”—tawdry, overly sentimentalized art of the banal representational sort—but refers to those features of our inherited culture that make us uncomfortable. It refers to those cultural behaviors that are now obsolete, forming the basis of an unwritten protocol that silently censors and marks the limits of proper taste. It proscribes movies that cannot be made, jokes that can no longer be recited, pop songs that now seem starkly ludicrous, silly, and pretentious. The interest in cultural productions that are considered déclassé is primarily historical, that is, scholarly: they are museum pieces which Time and History have rendered quaint, but nonetheless strange, artifacts. The déclassé may once have been highly fashionable, but is no longer—it no longer “speaks” to contemporary audiences and hence is out of fashion. These things may have a nostalgic appeal, but they no longer carry the sting of truth. A recovery or revival is unlikely.

Examples Of The Déclassé (In Language Or Sentiment), Hardly Exhaustive:
Harpers Bizarre – The 59th Street Bridge Song (Feelin’ Groovy) [1960s]
The Beach Boys – Be True To Your School [1960s]
Jimmy Dean – I Won’t Go Hunting With You Jake (But, I’ll go chasin’ wimmin) [1950s]
Leroy Van Dyke – I Fell In Love With a Pony Tail [1950s]
Wayne Fontana and The Mindbenders – A Groovy Kind Of Love [1960s]
Bobby Goldsboro – Honey [1960s]
Kay Kyser and His Orchestra – The Umbrella Man [1930s]
John Lennon – Woman Is The Nigger Of The World [1970s]
Loretta Lynn – The Pill [1970s]
Glenn Miller and His Orchestra – Don’t Sit Under The Apple Tree (With Anyone Else But Me) [1940s]
Joni Mitchell – Woodstock [1960s]
Wayne Newton – Dreams of the Everyday Housewife [1960s]
The Plasmatics – Metal Priestess [1980s]
Helen Reddy – I Am Woman [1970s]
SSgt. Barry Sadler – Ballad of the Green Berets [1960s]

Gramophone

The German inventor Emile Berliner patented the Gramophone in 1887. Unlike Thomas Edison, Berliner eschewed recording onto cylinders, and instead started recording onto flat disks—records. These early records were made of glass, later zinc, and eventually plastic, onto which sound information was etched into a spiral groove. The (figurative) arm of the gramophone (pictured), the playback device, contained a needle that “read” the sound vibrations in the grooves, transmitting this information to the speaker, which amplified the sounds. Berliner founded The Gramophone Company in order to manufacture both records and the technology to play them, Gramophones. Significantly, in 1908 Berliner began using Francis Barraud’s painting His Master’s Voice as his company’s logo, an image familiar to anyone who owns a few older RCA records. (The inventor eventually sold the licensing rights to his patent for the Gramophone and method of making records to the Victor Talking Machine Company, which in turn became RCA-Victor.)

I’ve always assumed that Berliner chose this now famous image as his logo in homage to Argos, Odysseus’ faithful dog. If you remember, in Homer’s Odyssey, Odysseus returns home to Ithaca in the twentieth year of his absence, disguised as a beggar. Nonetheless, that remorselessly old, dying dog, which manages to keep warm only by lying on a composting manure pile, manages to recognize his master, Odysseus, when he speaks—by his master’s voice. Despite Odysseus’ disguise, despite the long absence, the keen ears of Argos can recognize his true master by the authenticating sound of his voice. Presumably, Berliner chose Berraud’s painting in order to suggest the crystal clarity of sounds etched on his records, that his records captured authentic sound.

Berliner was a very smart and clever man, and he chose to record popular singers of the day—Enrico Caruso, for instance—to help advertise his records and the Gramophone. But as Friedrich Kittler has argued, in Gramophone, Film, Typewriter (Stanford UP, 1999), from around 1880 on, composers of music have been “allied with engineers” (24). After this date, he writes, “The undermining of articulateness becomes the order of the day” (24). As a consequence of sound recording, noise itself became an object of scientific research, and the previous conceptions that governed musical theory became antiquated.

The phonograph does not hear as do ears that have been trained immediately to filter voices, words, and sounds out of noise; it registers acoustic events as such. Articulateness becomes a second-order exception in a spectrum of noise. (23)

He’s right, of course: recording is a process by which sounds are made, not “captured.” It’s a form of engineering. Consider the sort of composers considered significant and important since 1887: Schoenberg, for instance, Ives, Varèse (all born in the nineteenth century), and Stockhausen (born 1928). The latter’s Kontakte owes as much to electrical engineers as it does to the redefinition of music theory that occurred when sounds (and music) became understood as sonic vibrations. I don’t think contemporary musicians who also happen to be music theorists, such as Brian Eno and Chris Cutler, would dispute Kittler’s characterization of the recording of music as an “acoustic event,” nor dispute the idea that articulateness (of voice) is “a second-order exception in a spectrum of noise.” Such is the impact of technology on our idea of (popular) music.

Some Acoustic Events:
The Beach Boys, Caroline, No [album version]
The Beatles, Revolution 9
The Doors, Horse Latitudes
Electric Light Orchestra, Telephone Line
Brian Eno, Apollo: Atmospheres and Soundtracks [album]
King Crimson, 21st Century Schizoid Man
Pink Floyd, Money
Lou Reed, Metal Machine Music [album]
The Residents, Eskimo
The Shangri-Las, Leader of the Pack
Frank Zappa, Lumpy Gravy [album]

Mermaid, Nymph, Siren

A siren, in Greek mythology, was an assemblage or portmanteau, part bird, part woman, and was both dangerous (a “siren” to this day warns of danger, a usage derived from the siren’s song that lured men to their doom) and seductive—a prototype of the femme fatale. At least originally. In later folklore, they lost their wings, and became fully aquatic and mermaid-like (“la mer” meaning “the sea” in French, hence mermaid means “sea-maiden”), revealed by the fact that in the Spanish and French languages, for instance, the word for mermaid is respectively Sirena and Sirène. Hence sirens and mermaids are often confused in the popular imagination. In contrast, the Greek word nymph, a female spirit usually associated with a specific geographical place, has both “bride” and “veiled” among its meanings; a “nymph” has come to mean a young woman of marriageable age. Hence the words mermaid, nymph, and siren all refer to highly seductive and desirable women, although potentially dangerous: for the Victorians, a “nymphomaniac” was a fundamentally disturbed woman, revealed by her excessive interest in sex. Perhaps because of its association with the word “nymphomania,” the word “nymph” seldom occurs in the lyrics of popular music. Mermaids and sirens, however, are mythical creatures that often make appearances, figures of elusive beauty. I’m including Bobby Darin’s “Beyond the Sea” in the following playlist, primarily because it is the precursor song of Van Morrison’s “Queen of the Slipstream” (“Going away far across the sea/But I’ll be back for you/Tell you everything I know”): both are romantic songs are about nymphs, beautiful young women waiting for the return of their lovers. But both “Can't Get It Out of My Head” and “Queen of the Slipstream” are also figurations of the Muse, signaling the singer is among the poetic elect.

Mermaids, Nymphs, And Sirens:
Aeon – Nymph
Tori Amos – Siren
Tim Buckley – Song to the Siren
Cream – Tales of Brave Ulysses
Bobby Darin – Beyond the Sea
Electric Light Orchestra – Can’t Get It Out My Head
Hall and Oates – Maneater
Van Morrison – Queen of the Slipstream
Nightwish – Siren
Robert Plant – Song to the Siren
Sade – Mermaid
Shel Silverstein – Mermaid Song
XTC – Mermaid Smiled

Fire

Fire — “If we go back far enough,” Freud wrote in Civilization and Its Discontents, “we find that the first acts of civilization were the use of tools, the gaining of control over fire and the construction of dwellings. Among these, the control over fire stands out as a quite extraordinary and unexampled achievement. . . .” He theorized that the first human (male) to renounce his desire to put out a fire by micturating, “was able to carry it off with him and subdue it to his own use. By damping down the fire of his own sexual excitation, he had tamed the natural force of fire.” In other words, the first major step toward human civilization was the renunciation of instinct. Woman was put in charge of fire—the hearth—because her anatomy made it impossible to put out a fire with the phallic equivalent of a fire hose. As if to link fire and the phallus in an explicitly Freudian way, Jean-Jacques Annaud, in his film Quest For Fire (1981), included a scene a which a female performs fellatio on one of her male companions, presumably for the first time in history (although the ur-fellatrix, unlike Eve, eludes the historical record).

Hence fire is essential to civilization, and yet is also capable of destroying it: it is both fascinating and terrifying—the fire that signals the apocalypse. In the popular imagination fire is most often associated with erotic passion (“c’mon baby light my fire” Jim Morrison implores in the famous song), but when is fire more closely associated with fire in the eschatological sense—the conflagration that signals damnation, the end of the world? The Meat Puppets’ “Lake Of Fire” is once such song; Black Sabbath’s “Black Sabbath” (“Satan’s sitting there, He’s smiling/Watches those flames get higher and higher”) is another, the distant precursor of which is the Louvin Brothers’ “Are You Afraid To Die.” Bob Seger’s “Fire Lake” is a song about fire in the Freudian sense, except rather than singing of the renunciation of instinct, the song celebrates its return (return of the repressed). Johnny Cash’s version of “Ring Of Fire” is famous, but Anita Carter’s version is better—passion, yes, but passion linked with self-destruction. Beautiful self-destruction, self-sacrifice, is also explored in Blue Oyster Cult’s “Burnin’ For You.” Setting aside the banality of songs about passion, there have been some very fine songs about fire. As opposed to those who say the world will end in ice, these songs say fire.

A Few Songs About Fire, Not Ice:
Anita Carter – Ring Of Fire
Black Sabbath – Black Sabbath
Blue Oyster Cult – Burnin’ For You
Chrome – Firebomb
The Cramps – Sinners
The Crazy World of Arthur Brown – Fire
King Crimson – The Court of the Crimson King/The Return of the Fire Witch/The Return of the Puppets
Barry McGuire – Eve of Destruction
Meat Puppets – Lake of Fire
Michael Murphy – Wildfire
The Rolling Stones – Play With Fire
Bob Seger – Fire Lake
Talking Heads – Burning Down the House
James Taylor – Fire and Rain
The Marshall Tucker Band – Fire on the Mountain