Exoticism

The emergence of psychedelic rock in the late 60s was fueled by the same cultural interest in exotica that inspired the 50s exotica of Les Baxter and Martin Denny. The (Hawaiian) steel guitar is to country/western music what the sitar is to psychedelia: both instruments invigorated these forms of pop music through their novel, non-Western, that is, exotic sound. Exoticism and primitivism (both forms of essentialism) were terms used within the discourse of authenticity—that which is considered to be trustworthy or genuine—to sell exoticism to music consumers—“there ain’t nothing like the real thing, baby.” The Stan Getz/Joao Gilberto bossa nova hit, “The Girl From Ipanema” (1964), as well as the Getz/Charlie Byrd LP, Jazz Samba (1962), were to lounge exoticism (cool detachment) what Santana’s “Soul Sacrifice” and “Oye Coma Va” were to hippie exoticism. Authenticity is merely a marketing tool, a way of validating certain popular music forms.

The embrace of the exotic became a form of bohemian expression. As Simon Frith has observed, “music is more like clothes than any other art form” (Performing Rites: On the Value of Popular Music, Harvard UP, 1996). Bohemianism substitutes aesthetics for politics, which is why songs such as “Street Fighting Man” by The Rolling Stones—the first true bohemians to become rich through rock music—is nothing but sheer posturing. By the late 1980s and the era of digital sampling, artists such as Peter Gabriel employed the sampling of so-called “world music” as a way to enhance—and therefore validate as authentic—his music within the marketplace. He wasn’t the first.

Albus

Sleeve—the protective cover in which a vinyl LP record is packaged and stored, normally with distinctive graphics. According to Michael Jarrett, it was Impulse! Records founder Creed Taylor who consciously attempted to change the look of jazz by concentrating on the graphics of the record sleeve or album cover. He said:

“I thought that the audience for jazz was, generally, of a higher level of intelligence,” says Taylor. “Gil Evans’s Out of the Cool, if you recall, has a photograph of Gil seated on a stool; he’s holding a manuscript. Instead of making him seem like the shadowy artistic type, it was set up to give him a Madison Avenue look, to make people think, ‘He’s a pretty good looking guy. He’s intelligent looking. I thought jazz was down-in-the-basement and seedy.’” (Sound Tracks 170)

Taylor, along with George Avakian at Columbia, Reid Miles at Blue Note, and Norman Granz at Verve, all consciously attempted to shift the connotations of jazz from “left-leaning bohemian values,” widely associated at the time with folk music. (p. 170) By consciously altering the graphic signifiers on the album covers, they successfully changed the public perception of jazz to urbane—Modernism as understood by the middle class.

Which sleeve in the history of rock music was the first to try to shift the connotations of rock from “teenybopper” or “pop” to “art” through the use of cover art and design? Certainly the black and white photograph by Robert Freeman used on the cover of Meet the Beatles! (January 1964), was consciously “artistic,” but it did nothing to alter the widespread association of rock with folk, and therefore its left-liberal bohemianism. In fact, the Meet the Beatles! cover became the prototype of all rock album sleeves to follow, as it became common practice to use a formally arranged picture of the band on the LP sleeve. The black and white cover of the Stones’ The Rolling Stones (April 1964) was clearly modeled after Meet the Beatles!, as well as all subsequent Beatles albums, e.g., Beatles For Sale (December 1964), although the latter was in color. Rubber Soul (December 1965) continued the practice of using a group photo on the cover, slightly modified in this latter case by the use of what might be termed psychedelic expressionism. So which album cover in the annals of rock consciously attempted to alter the perception of rock music from that of left-liberal bohemianism, lower working class values (“garage”), down-in-the-basement seediness, and the gaudy day-glo, paper cut-out signifiers that signaled stoned-out psychedelia? I initially considered the Velvet Underground’s first album, The Velvet Underground & Nico (March 1967), but ruled it out because the name of the band is so stridently bohemian, and because Andy Warhol’s famous banana peel cover smacked of Pop Art and was too deliberately outré anyway.

My nominee, therefore, is the Beatles’ The Beatles (December 1968), aka “The White Album” (the word album from the Latin albus, meaning blank, or white) with its minimalist art approach. Early issues of the album had the band’s name embossed on the cover on a white background, with a unique serial number printed on each cover. In subsequent issues, the band’s name was no longer embossed but printed in gray, with no serial number. In both instances, though, the album art was startlingly different than other sleeve art at the time, and the cover design, inspired by minimalist art, was quintessentially modern, and therefore urbane. Of course, the Beatles’ bold effort was all for nothing, as Charles Manson hijacked the album shortly after, and rock remained as “controversial” as ever, and hardly a sign of urbanity. I suspect, however, that the cover art concept demonstrated on The Beatles cover sleeve inspired countless graphic designers, and initiated what we now call “rock album art” as a distinct artistic form.

Dinosaur

I’ve observed on this blog once or twice before that so-called progressive rock (or “art rock”) developed in order to assuage pop guilt. The founding work of the movement is no doubt the Beatles’ heavily engineered Sgt. Pepper’s Lonely Hearts Club Band (1967), although some would argue that the Beach Boys’ Pet Sounds (1966) is the foundational work. Either way, both of these albums were made with “high” or “serious” aspirations as opposed to mere “pop” aspirations, thus making them, among other things, acutely self-conscious examples of rock music (isn’t self-consciousness a characteristic feature of a so-called guilty conscience?) As a frequenter for many years of garage and yard sales and record conventions, as well as the used record bin at my local Goodwill store, I remember a time when you couldn’t give away albums from the art rock camp, e.g., Supertramp, 10cc, The Moody Blues, Genesis, King Crimson, Electric Light Orchestra, Yes, and Emerson, and Lake and Palmer on the British side, or Kansas, Styx, and Boston on the American. By the early to mid-1980s, many of these bands, and others, of course, representing the art rock movement, were considered “dinosaurs,” that is, extinct giants that once walked the earth. And if not yet extinct, certainly déclassé, because by the 1980s many critics considered these bands’ best work was behind them.

But new media technology developed for systems such as the Xbox—the Rock Band and Guitar Hero series of games, for example—has introduced the music of these antique bands to a new, younger audience. As Marshall McLuhan observed decades ago, the content of the new media is the old, and the music contained on Rock Band (and Rock Band 2) are good examples of this insight. I was reminded of McLuhan’s observation the other day when I heard my son John (sixteen years old) playing his Xbox guitar along with Kansas’ “Carry On Wayward Son,” a big hit when I was, alas, not a whole lot older than he is now—in my early twenties. I believe John happened to be playing Rock Band 2, but the song is also on Guitar Hero II, or so I’ve been told.

There is, perhaps, no better example of a Seventies-era arena rock dinosaur than Kansas. To lift a phrase from Michel Foucault, Kansas is a band that lives in the Seventies as a fish lives in water, that is to say, it can live nowhere else. The Beatles had shown that a rock band could sell out a stadium, and the subsequent rock festivals of the 1960s, and the so-called “arena rock” of the 1970s (a term used in lieu of “stadium” since not all rock concerts were held in them) rode the massive wave—tsunami—the Beatles had created. The American counterpart to British bands such as King Crimson and Yes, Kansas, being Midwestern, was perceived as less innovative (“derivative”) than these bands, but the band was composed of six viable, hard-rocking musos nonetheless—who unfortunately never quite understood the valuable cultural cachet of the album cover, as Yes, for instance, with its arty SF/fantasy covers by Roger Dean, did. (The cover for Kansas’s first album was taken from the Modernist mural painting of John Brown in the Kansas state capital painted by John Steuart Curry.) The band’s first album, the eponymously named Kansas, was released in 1974. The last album featuring the original band members, Audio-Visions, was released in 1980. During those seven years the band released eight albums, one of them, Two For the Show (1978), being a double LP live set. Soon after the release of Audio-Visions, the band began drifting apart. A couple members became born-again Christians, and through the 1980s the band was known primarily as a Christian rock band, and never again had the popular success it did during the years 1974-80. The band’s biggest charting single, “Dust in the Wind” (“All your money won’t another minute buy-hiiiiiiiiiy”) from 1977’s Point of Know Return, was, I think, appropriately criticized by Charley Walters, in The Rolling Stone Record Guide (1979), as “sophomoric philosophizing” (p. 200), and therefore appropriately pastiched, years later, in Bill & Ted’s Excellent Adventure (1989). The doom-laden “Dust in the Wind” remains the band’s most popular song, although to my taste the band’s best album from those first six years is Song For America (1975, cover art pictured), which I think also contains the best side (side 1) of music they ever recorded: “Down the Road,” “Song For America,” and “Lamplight Symphony,” all written or co-written by guitarist/keyboardist Kerry Livgren. His departure after 1980’s Audio-Visions dealt the band a serious blow. Kansas’ first album was released the year, 1974, I enrolled at the University of Kansas (not as a true freshman, however). That fall was the first I heard of the band, as it played a free concert in Lawrence coinciding with the beginning of the semester. Given that the band was from Topeka, the state capital, just down the road from Lawrence, it was, as the saying goes, a “big deal” for them to play a concert locally.

The apparatus supporting bands such as Kansas (and Pink Floyd, and so on) was the technology of the synthesizer, the modern recording studio, and FM radio. In the late Sixties and early Seventies, FM radio defined itself by its high brow opposition to Top 40 (“teen,” that is commercialized, music). FM radio was, then, the place to go for more “serious” music, whether that was psychedelic surrealism (called “head” music at the time) or lengthy jams by West Coast bands such as Quicksilver Messenger Service and Jefferson Airplane. And that’s just it: FM radio supported, even encouraged, the extended, “orchestral” arrangements by bands such as Kansas. Most certainly Kansas wrote short songs purposefully designed as hits for Top 40 radio (“Down the Road,” as well as the aforementioned “Dust in the Wind”), but the band’s forte was extended compositions and classically styled arrangements. The band’s arrangements, in contrast to its compositions, were always its strongest suit. In this sense, it drew, as did many bands, from the brief but fruitful interchange between the classical and pop worlds.

Perhaps the best way to understand Kansas in the context of the 1970s is to contrast the noise, that is, violence and aggression, of British heavy metal bands such as Black Sabbath with the benign, pop stylings of Sgt. Pepper’s-era Beatles. Although American, Kansas was arguably part of the same outgrowth of British post-Yardbirds experimentalism as Cream, Led Zeppelin, and King Crimson, inheriting, in part, the latter band’s lyrical imagery (mystical and apocalyptic). But the American part of the equation, though, was its allegiance to working class heavy metal bands such as Grand Funk Railroad—which is why it never had the cultural cachet of the other prog-rock bands of the time. For Seventies prog-rock was, just as heavy metal was, the venerable Lester Bangs once observed, born “from machines and electronic appendages.”

Throat Culture

Having mulled over the issue for the past couple of days, I’ve concluded that those collections of bad cover versions of pop songs performed by celebrities included in the Golden Throats series (4 volumes) are perhaps best understood as examples of travesty rather than burlesque. The difference between the terms resides in intentionality. A burlesque is any work purposefully designed “to ridicule a style, literary form, or subject matter either by treating the exalted in a trivial way or by discussing the trivial in exalted terms (that is, with mock dignity).” Burlesque is a form of derisive imitation achieved by exaggeration. In contrast, a travesty is any novel, play, poem, film, opera, or other creative work that reveals the incompetence of its author/performer. A travesty trivializes a serious subject or composition. “Generally, a travesty achieves its effect through broad humor and through incongruous or distorted language and situations.” Unlike a parody or burlesque, the purpose of which is intentional mockery, a travesty is any work in literature, music, or art that is “so poorly done” that it fails to meet “even the minimum standards” for style, technique, form, and so on.

I used “perhaps” in the first sentence because we no longer adhere to notions of art’s autonomy—any formalist evaluation of the remarkable cover versions included in the Golden Throats series (I say remarkable because they’ve been collected and hence been “distinguished”) is bound to fail, as exemplified, for instance, in those art historians who tried to explain Duchamp’s Fountain (pictured) by appealing to the (traditional) aesthetic category of “beauty.” Duchamp was one of those artists who enabled the transfer from modernism to postmodernism—from art as “work” to art as “text.” Because it is impossible to list the properties of those works susceptible to Duchampian “remotivation” (what he did by placing a urinal in an art gallery), it’s no longer possible to refer comfortably to Golden Throats’ cover versions of rock and country songs as “camp.” In the 1964 essay “On Camp,” Susan Sontag argued, “not everything can be seen as Camp. It’s not all in the eye of the beholder” (Against Interpretation, p. 277). The trouble is, of course, it is. What sort of text (or event) cannot be radically re-read, that is, transformed into a travesty? Think of Duchamp’s goateed version of the Mona Lisa, or Mel Brooks films such as The Producers or his remake of To Be Or Not To Be, which send-up Nazism.

Books and Pictures

The Picture of Dorian Gray—the picture acts as a “magic mirror” (as in the story of Snow White), absorbing Dorian Gray’s spiritual ugliness while he remains young and handsome. “In Godard’s A Bout de Souffle Jean Seberg pretends to be happy and insouciant, but, pinned to the wall, just behind her head, life-size photographs of herself looking sad and thoughtful give the game away,” writes Raymond Durgnat (Films and Feelings). Thus pictures, rather like so-called “Freudian slips”—slips of the tongue—give a person away, betraying the actual reality hidden behind the mask, the disjunction between image and reality. It is also possible for pictures within movies to attack characters in a similar fashion: in Hitchcock’s Blackmail, for instance, a laughing clown points his finger at Anny Ondra as she, knife in hand, backs away from a corpse. While pictures can incite the imagination (as in The Who’s “Pictures of Lily,” or the J. Geils Band’s “Centerfold”), pictures can also hide or conceal actuality: in Stanley Kubrick’s A Clockwork Orange (1971), Alex attacks the cat lady with a large plastic sculpture of male genitalia, crushing her skull with it as the camera cuts away to the garish contemporary paintings on the walls. But pictures of the lost object of desire also serve up painful memories of loss, serving as a constant reminder of one’s current singular situation—the Reality Principle. A picture of one’s self can function merely to increase one’s own intense loneliness and isolation, as in George Jones’s romantic ballad, “A Picture of Me (Without You).”

“Who wrote the Book of Love?” a famous song wants to know, and, of course, there is no answer. Books, archives of wisdom and repositories of cultural knowledge, cannot be read—it’s as if they were written in a foreign language. Proclaiming to make the world legible, books, paradoxically, are often indecipherable. “Tell me where the answer lies,” sings Neil Young in “Speakin’ Out.” “Is it in the notebook behind your eyes?” Books also supplement one’s memory—they are the place where things are written down, where lists are compiled, where experiential narratives are recorded, serving as reminders of what to do—or warning of behaviors to avoid. Thousands of words have been written about pictures, and books contain thousands of words; the lyrics to songs about books and pictures are frequently about both the failure of language and of the discrepancy between thought and action.

Books And Pictures A-Z:
ABC – The Look Of Love
The Beatles – Paperback Writer
Elvis Costello and the Attractions – Everyday I Write The Book
Deep Purple – The Book of Taliesyn
Echo and the Bunnymen – Pictures On My Wall/Read It In Books
Filter – Take A Picture
The J. Geils Band – Centerfold
Hüsker Dü – Books About UFOs
The Incredible String Band – Antoine
George Jones – A Picture of Me (Without You)
The Kinks – Picture Book
Love – My Little Red Book
The Monotones – The Book of Love
Nazareth – Why Don’t You Read the Book
Alan O’Day – Undercover Angel
The Police – Don’t Stand So Close to Me
? and the Mysterians – Ten O’Clock
Rod Stewart – Every Picture Tells A Story
Status Quo – Pictures of Matchstick Men
Talking Heads – The Book I Read
U2 – When I Look At the World
Son Volt – Out of the Picture
The Who – Pictures of Lily
XTC – Books Are Burning
Neil Young – Southern Man
The Zombies – Imagine The Swan

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