(Vampire) Week End

I do not think it is much of a secret to anyone who knows me that, due to a chance early discovery of their music and hosting their July 2007 gig in Virginia, I am an avid fan of one of 2008's most discussed bands, VAMPIRE WEEKEND. I have followed them since the day I discovered them and consider myself to be pretty aware of the origins of their aesthetic, so when I watched JEAN-LUC GODARD's WEEK END (1967) last night I was pretty taken aback by the references to the film that are apparent in VAMPIRE WEEKEND's music videos, namely the ones for "MANSARD ROOF" and "OXFORD COMMA."

I remember watching the "MANSARD ROOF" music video for the first time, seeing the band's name staggered in multi-colored futura font across a black background and thinking "Man, where do these guys come up with such simple, but effective (for lack of a better word) stuff?" Well, in the opening minutes of WEEK END I figured it out. The first time that the film's title is flashed across the screen (which happens quite frequently), it is in the EXACT SAME stark yellow, red and blue style (pictured). To make it even more similar, the film's title and the band's name share the same word; it actually took me until seeing the words in the same style to even make that connection.

This borrowed intertitle seems to be the only GODARD technique present in "MANSARD ROOF" as the rest of the video consists of many quick cuts and close-up shots of band members' faces, both of which are scarce in the film, WEEK END. One need only skip two VAMPIRE WEEKEND music videos ahead, though, to run right into another pretty clearly borrowed aesthetic. GODARD's film is full of long panning shots that are set in rural scenery, seem to last forever and incorporate many seemingly ridiculous elements (crashed, flaming cars, dead, blood-soaked human corpses, people dressed up in strange costumes) into the MISE EN SCENE and the main characters are a volatile couple who are worried, AD ABSURDUM, about their material belongings. "OXFORD COMMA" (pictured) incorporates these elements into the video as it is all one continuous take that follows one character, singer/guitarist, EZRA KOENIG, who seems fairly oblivious to the chaos around him. He walks along singing and playing guitar as people, some ignoring him, others not so much, make plans for an unknown task, film him, shoot each other and mimic him just as WEEK END's Roland and Corinne trek towards OINVILLE without paying much heed to those who they encounter.

The question that remains after noticing these similarities between WEEK END and VAMPIRE WEEKEND is simply: "Why?" Do these 21st century pop stars think they are entitled to these techniques just because their chosen moniker is similar to that of GODARD's film? Do they just have an affinity for the FRENCH NEW WAVE director and want to pay homage to him as best they can? Do they feel attached to this film's message in some way and want to incorporate it into their band's entire ethos?

In the case of "MANSARD ROOF" I think it is pretty safe to assume that the WEEK END-like beginning and ending titles are only used because of the similar wording, although the text does fit very well with the bands aesthetic as a whole. The "OXFORD COMMA" video, though, may just have more to with WEEK END than just a superficial reference. WEEK END, from what I took away from it, is a film that is intensely against corporations and commercialism. Throughout the entire movie, the characters drive everywhere in cars and navigate through traffic jams and exaggerated crashes that include maimed, bloody victims (pictured). Roland and Corinne repeatedly get excited about the automobiles they encounter and Roland frequently expresses interest in buying a new, nicer one. They do not seem to notice, however that the car crashes which they so often encounter are killing most of the other people in their movie. They both compulsively strive for better products without noticing the bad effects of them. In "OXFORD COMMA," KOENIG sounds like he is talking to a girl who is far too concerned about her own activities and social status. She travels ("take your passport"), listens to popular music (the Lil' Jon reference), and fibs about her class rank ("Why would you lie about how much coal you have?") while selfishly speaking badly to the person who is trying to help her. The character in the song, channeled only through KOENIG's transmission of her words, is just as oblivious to the peril that surrounds her. KOENIG himself cannot see any reason why someone would make such a false claim, but as he meanders through the set and asks about the girl's intentions in doing so, it is apparent that he really cannot understand why someone would create such a lie because he, clad in a nice, white suit and riding in a nice, white car, is very apparently part of the upper crust who would never need to lie about such issues as social status. He too seems deluded from the problem (in his case the CLASS SYSTEM) that surrounds him.

All throughout WEEK END, Roland and Corinne encounter people who repeatedly remind the main characters and the audience that everything happening is within the world of the film. When Roland attempts to hitch a ride after his car becomes immovable, a possible hitch poses him the question: "Are you in reality or in a film?" (paraphrased) and when he responds that he is part of the latter, the prospective driver cruises onward. This aspect of WEEK END pulls the viewer away from the absurd elements so he or she can set aside the absurdities, accept them as fictional and focus on what intention may lie behind the film's outlandish metaphors. The VAMPIRE WEEKEND music video in question performs a similar function when, very early in KOENIG's stroll, a film crew, separate from the one actually filming the video , pops up behind him and briefly follows him (pictured). In the context of "OXFORD COMMA," being reminded of the music video's fictional nature lets the viewer see that what appears in the frame is only one perspective, much like KOENIG's lyrics. This reminder that this video is, in fact, a fictional view can also serve much of the same purpose as it does in WEEK END, but in the interest of keeping this BLOG POST somewhat short (and it may be too late for that) I will not go into many of the other character interactions in "OXFORD COMMA."

So, what purpose does VAMPIRE WEEKEND's appropriation of GODARD's aesthetic serve? After seeing WEEK END I think I have a better grasp on how I am supposed to interpret their videos (at least in the case of "OXFORD COMMA," maybe "MANSARD ROOF." "A-PUNK" and "CCKK" are seemingly impertinent here). "OXFORD COMMA" now looks to me like a young man's walk through his immediate surroundings as he pays attention only to the events that seem to concern him, and the song's subject comes off in much of the same way now also. This connection between the musicians and the filmmaker also makes for one very exciting epiphany one can encounter while examining the former's work.

Kate Bush: In Continuance and My Criticism of AEP

Let me this POST begin with a KATE BUSH update: The day after I wrote the last entry I went to the record store near my house, SCRATCH AND SPIN, and picked up her 1985 LP, HOUNDS OF LOVE, and WOW! This album contains two songs mentioned in my last post , "HOUNDS OF LOVE" and "RUNNING UP THAT HILL (A DEAL WITH GOD)," and since purchasing it, I have listened to it numerous times. On my first night with the record I tried to fall asleep to side B, entitled THE NINTH WAVE, and it was REALLY SCARY. It features chopped up, backwards vocals and an OMINOUS voice that sounds like it could belong to a DRAGON. She also references psychoanalyst, WILHELM REICH, in the song "CLOUDBUSTING." My KATE BUSH IMMERSION and APPRECIATION (which will henceforth be referred to on my BLOG as my KBI&A) is going swimmingly. I look forward to obtaining my next album of hers; I think 1982's THE DREAMING (pictured), as it contains the aforementioned "SUSPENDED IN GAFFA," may be my next try, but I'M NOT QUITE SURE YET.

Now, I have for the past month or so been fulfilling requirements for South Carolina's ALCOHOL EDUCATION PROGRAM because of an UNDER-AGED DRINKING TICKET which I received last semester. The program requires clients to participate in COMMUNITY SERVICE at non-profit organizations and take a number of alcohol-related information sessions. One of these sessions was simply called an alcohol education class, which I attended for three Fridays with a couple other AEP clients. For the final class, the teacher, MR. BEN BOATWRIGHT (who actually is a decent, respectable fellow), said we were to create and present an "art project" (which encompassed any medium: painting, drawing, sculpting, spoken word, written word, et cetera) in which the students must explain what AEP means to him or her. I chose to write a manifesto, as it was the medium in which I could most-clearly articulate my views on the program, and my roommate and friend, ANDY (pictured), suggested I use it as a subject for a BLOG POST. I had already toyed with the idea myself and I have decided to do so as I thought about the essay for quite a while and treated the project much like I would a POST on my BLOG. So, the ensuing words come from my UNTITLED MANIFESTO that I created for the AEP PROGRAM.

South Carolina’s Alcohol Education Program (AEP) has proven to me to be a system, constructed under the guise of a safety course, to wrench money and time out of young people and make them try to adopt the government’s strict views on substances. AEP has shown me that the government really does not care about the well-being of all offenders of imposed alcohol and drug laws; it simply wants to take the time and money of those who cannot manage to slip through the cracks of the system. Whatever negative connotations I had reserved for this type of program through my first dealings with Pre-Trial Intervention have been thoroughly reinforced and strengthened after experiencing much of the same in AEP.

My problem with the program starts with the evening on which I committed my “offense.” I had gone to a friend’s house out in Blythewood and was quietly spending time with friends and just happen to have been drinking beer. Nobody I was with was excessively loud or drunk and we were all having a pleasant, low-key time. The only reason that I think the police even showed up is because they were called to another house down the street that may have actually been disturbing the peace of the gated community. Whatever the reason, the police came in nine separate cars and searched the entire house. I willingly walked outside and stood with my friends, thinking that there was no possible way that these cocky dullards were going to write some nineteen tickets for those who happened to be under-aged. I was wrong, though, as we waited for about two hours while the law enforcers did their enforcing with smiles on their faces, the entire time trying to sound appealing to us as they lamented the beer which they made us pour into the sink. Any bad view that we were supposed to reserve for the liquid was immediately countered by the police officers’ assertions that they wanted to take it home and drink it themselves.

The issue of court dates for the ticket hearings again showed me how arbitrary the entire program is as some people had their lawyer parents or friends come along and had their charges and tickets immediately absolved. As the imbecilic and inconsiderate police officers scheduled the court dates to be right in the heart of my friends’ and my final exam week, some of my fellow “offenders” had to reschedule their dates in order to take their tests. Well, all those who chose to reschedule were also free of charge as the correct police officers did not show up at their cases and thus, another few of my friends got to save their time and money. The unlucky few of us who actually had to go through the AEP program were all left dumbstruck by the court’s simple dismissal of some cases and we saw very clearly that all this program is used for is revenue.

The actual program of AEP (with all due respect to you, Mr. Boatwright) has been a long process of redundant teachings, wallet-emptying, vain payments and a failure to make me see why I my “offense” should count as any sort of crime. In my Alive at 25 class, instructor Larry “Skid” Skidmore repeatedly told the class that he did not care if we drank, we simply have to be responsible and of-age. Responsible, yes, it is very important to avoid using machinery whilst consuming alcohol and to ingest it in moderation. Well, at the time of my "offense" I had taken in all of two beers and had planned to spend the night at the place of gathering. This, according to Skid, is responsible, so all I have to do is be of-age. Well, why if he says that is the only thing I am missing, should I even have to worry about it? I do not understand how a man could completely take and obey the laws imposed by the government solely because they are imposed by the government. Has he never thought to question these laws by which we are supposed to live? He had reserved similar ideas about marijuana as he said that he wanted to try the drug, and in 2040 (which, according to Skid, is 38 years from now), when he believed it would be legalized, would absolutely like try it. Why does he have to wait for a higher power to tell him it is alright? Has he no personal motivation or thoughts outside of the ways the government tells him to think and act? I find people who adopt and act in this subservient vein to be unreasonable and very ineffective types to whom I am supposed to listen.

In sum, the Alcohol Education one is a program that capitalizes mainly on the college student’s tendency to like to loosen up on the weekends after stressful days of schoolwork. We have learned that policemen go fishing for under-aged drinkers in popular areas like Five Points because they have to meet a quota that assures that the government will be able to pay enough officers so that it can also generate revenue from this lucrative, evil business as well. Nevermind the fact that the people forced to go to these alcohol classes have very busy schedules as is. It is perfectly acceptable to make them work extra hours at their jobs, work at their jobs on already-busy weekdays as they spend weekends fulfilling class and community service requirements and have them skip important university classes to hear statistics about their demographic rattled off by a preachy, homophobic moron. More than anything, AEP has made me more aware of the moral emptiness of the program and monetary goal for which it actually exists.

My Life in the Ghost of Bush

Until July 2008, KATE BUSH was a name which I had heard mentioned in passing, but I had never pursued her music for myself. I had before heard praise for her work, but did not know whether or not it was something I would really be able to DIG, so she remained estranged to me for quite some time. For some reason, last semester I found myself engaged in a conversation with my friend, LINDSEY, about her song "WUTHERING HEIGHTS" and we watched the music video for it and I remember feeling like she was an artist to whom I would need to dedicate some time in order to really get into her. This past summer I was in the CHICAGO PUBLIC LIBRARY sorting through the music section when I came across her 1989 album, THE SENSUAL WORLD. I checked it out from the library and took it home and listened to it once. Again I was fond of it, but I felt that I would need to give her another chance at a later point, as I just was not quite connecting with LP.

The music from THE SENSUAL WORLD (the album physically returned to its place in the Chicago Public Library) went un-listened-to on my computer/iPod for a while, despite the recurring notion that I should be giving it another chance. In the past few weeks, though, I have experienced a surge of allusions and references to the work of KATE BUSH. In a relatively short span of time I purchased PETER GABRIEL's, SO, which features her in one song, heard her name mentioned in interviews with the bands HIGH PLACES, VIVIAN GIRLS and then again at my friends' house as I browsed through JOSH's music collection. The latter three of these instances involved the exact same song, "RUNNING UP THAT HILL," which I now know to be one of her biggest hits. After these encounters I gave this song a good listen, enjoyed it and decided that NOW is the time that I will actively pursue KATE BUSH's discography.

As I gave THE SENSUAL WORLD a couple more (figurative) spins, I finally started to be able to get into it. I think I was intially driven away by the many IDIOSYNCRASIES that make up the album, its tendency to sound somewhat DATED in its overall sound and the DENSITY that permeates every song. My recent multiple listenings and continually increasing enjoyment of THE SENSUAL WORLD are where now I stand in my first steps of KATE BUSH IMMERSION and APPRECIATION. Since listening to it, particularly the last song, "WALK STRAIGHT DOWN THE MIDDLE," I have again seen her influence on the band PONYTAIL's singer MOLLY SIEGEL, especially in very beginning of their song "BEG WAVES." Both women make that noise that happens when you MAKE YOUR LIPS LIMP AND BLOW THROUGH YOUR MOUTH WHILE HUMMING IN A HIGH PITCH, a sound often more associated with small children than with pop vocalists.

The ICING on my PROVERBIAL KATE BUSH CAKE, though, appeared after the commencement of my IMMERSION and APPRECIATION. Last Thursday I got RA RA RIOT's new album, THE RHUMB LINE (pictured) from WUSC while doing a radio show. I listened to the this album a lot last weekend and had chosen a couple of initial standout tracks to frequently revisit, one of them being the ninth song, "SUSPENDED IN GAFFA." I listened to this song a few times before I researched their album and figured out that this particular selection is a KATE BUSH COVER.

No more than four days later, I was at work creating an ON THE GO PLAYLIST on the company iPod. There is a lone song by British post-punkers, THE FUTUREHEADS, that comes from their self-titled album that I frequently listened to when I was a junior in high school. The song is called "HOUNDS OF LOVE" and I put it on the playlist I was making to see if I would still enjoy it as I used to do. Continuing to scroll through the selections, I came across KATE BUSH's name and, because I had recently started my venture into her work, I threw that song, also entitled "HOUNDS OF LOVE," into the mix as well. Of course I noticed that these two songs have the same name, but I did not pen THE FUTUREHEADS as people who would cover KATE BUSH. I was quickly proved wrong, though, as not longer after hearing THE FUTUREHEADS' singer request for his shoes to be taken off and thrown into the lake, KATE BUSH did exactly the same.

Here I realized that I was SO CLOSE to accessing her music YEARS before I actually did, if only I had checked for writing credits upon hearing the song the first time! I am trying to decide if an AFFINITY for KATE BUSH has always been in the cards for me, if I have been experiencing more encounters with her recently than can be considered normal, or if she is simply a HUGE, INTERNATIONAL POP STAR and it is common to hear her name mentioned. If the latter is the case, then maybe one or a couple mentions got her on my brain, so I have just been taking more notice when her name arises. I'M NOT REALLY SURE, but I am glad I have finally started to take note of and experience KATE BUSH's (so far) unique, gratifying music.

Consumer Self-Taxonomy

The other day I was cruising around on the INFORMATION SUPERHIGHWAY and accidentally rolled my mouse over an orange, rectangular ad that was at the top of the window at which I was looking. No big deal, right? Well, simply moving the cursor onto this orange area started off a chain of people (some recognizable, i.e. Pharrell Williams and Eva Longoria) identifying themselves as PCs and telling me the interesting jobs they do, clothes they wear, ways the help the world, et cetera. At first these messages were a bit disorienting, but I soon identified the rectangle as part of the new MICROSOFT marketing campaign, no doubt in response to the recent APPLE commercials that show a young, cool-looking JUSTIN LONG identifying himself as a MAC and ragging on the square, nerdy man who is understood to be a PC.

After having my interest piqued by this internet snippet of the ad, I consulted YOUTUBE to see what other incarnations this campaign has taken and I viewed the minute-long television spot. This version had even MORE interesting people proclaiming themselves to be PCs and giving examples of all the opportunities one can encounter by choosing MICROSOFT instead of APPLE.

Shortly after experiencing these advertisements, I found myself sitting in class waiting for the professor to arrive when two classmates, one of whom was seated behind his APPLE laptop, brought up the new MICROSOFT ad campaign and the two of them began to chide both the commercials and the company itself and even went so far as to denounce those who happen to use a MICROSOFT product. They listed off a few new products that each company made and proclaimed APPLE to be the superior electronics producer.

In meditating on the nature of these advertisements and my two classmates' conversation I have been left dumbstruck by how seriously some people take their products. WINDOW's new campaign shows people from every walk of life DEFINING themselves by the computers they choose to buy and use and my classmates seem to have adopted this method of self-taxonomy. In my AMERICAN AUTOBIOGRAPHY class and my '50s AND '60s CINEMA class we have been reading about the SHAMELESS CONSUMERISM that seemed to take over America in the 1950s. In each class we have seen the purchasing of now standard appliances like the refrigerator or toaster oven turned into a family event in which friends would come to said family's house to see the new appliance in action. Many other people in my class who speak up about the subject distance themselves from these kind of events because now it seems ridiculous get excited about a toaster, but what does not seem to get mentioned are the countless other items that are put on pedestals and coveted in modern America. The once-exciting oven or vacuum cleaner has now been replaced by items like MACs, PCs or VIDEO GAME CONSOLES. Families still invite friends over to herald their new purchases, but these products have now taken the form of BLUERAY-PLAYING,HIGH-DEFINITON TELEVISIONS or similar items.

I did community service at a nearby Christian thrift store, HIS HOUSE MINISTRIES, a few days ago and two other people with whom I was working (one a young man of about 18, the other an older fellow probably in his late thirties) immediately started up a purchase-charged conversation when the younger one was examining his IPHONE (pictured, right) whilst the elder talked about his IPOD. I listened to them talk for quite a while that day and the conversation seldom strayed from the subject of CELLULAR PHONES, TELEVISION SETS and CARS. In between discussions of products, each seemed hard-pressed to come up with conversational topics beyond the WEATHER or the FLOW OF TRAFFIC.

I cannot tell if the same CONSUMERISM that took over America in the 1950s is increasingly conquering minds or if its rate is staying the same, but simply selecting new products and new ways to target the CONSUMERS. There is another recent phenomenon becoming prevalent at least in the greater COLUMBIA, SOUTH CAROLINA that involves people BUYING huge decals emblazoned with logos of, say, REESE'S PEANUT BUTTER CUPS and getting them placed onto their cars. People are becoming so wrapped up in what they buy that they are actually PAYING the company to ADVERTISE its product!

Here, where I should be providing closing words, this whole situation leaves me at somewhat of a loss for them. I often attempt to end BLOG POSTS with either solutions or questions, but I cannot seem to conjure either right now, only these above observations.

What is a Sex Pervert?

About a week and a half ago I watched WOODY ALLEN's Everything You Always Wanted to Know About Sex* But Were Afraid to Ask (1972). This film is centered around frequently asked questions about SEX and there is an ensuing short story or skit for each inquiry. Whilst watching the segment for the fifth question,"What is a sex pervert?" I became interested because I have never actually known the answer to this question. I have heard the word "PERVERT" used plenty of times and feel I could even use it effectively on my own, but I have never actually heard a definition of what makes a PERVERT a PERVERT.

Lucky for me, though, in my film class, Cinema, Sex and the City 1914-1934 (not to be confused with the one mentioned in my last post), we have been reading and discussing MICHEL FOUCAULT's 1978 thesis, The History of Sexuality: An Introduction, which seeks to explain how and why SEX has come to be repressed by the POWERS THAT BE in western society. In the beginning of Part 4, Chapter 3, FOUCAULT addresses how there is no "...all-encompassing strategy, valid for all of society and uniformly bearing on all manifestations of sex." In approaching this problem, FOUCAULT distinguishes four great strategic unities which he sees as "...form[ing] specific mechanisms of knowledge and power centering on sex." These unities are: a hysterization of women, a pedagogization of procreative behavior and a psychiatrization of perverse pleasure; the last one of which contributes to the discussion in this particular post.

FOUCAULT defines "PERVERT" as an instinct that is set aside as separate in physical and psychic realms. He says that "... a clinical analysis was made of all the forms of anomalies by which it could be afflicted; it was assigned a role of normalization... with respect to behavior; and... a corrective technology was sought for these anomalies." So the pervert is an anomaly in the world of sexual normalcy, such as a PEDOPHILE or FOOT-FETISHIST, which were the examples used in my class. According to FOUCAULT, these anomalies are to go into a clinical setting and come out either "cured" of their sexual demons or can at least control them in public.

My professor also brought up SIGMUND FREUD's ideas on PERVERSION. He said that FREUD uses the same sort of definition for the word (one who deviates from the sexual norm), but does not think that these deviations should be in any way "treated" or "cured." It is perfectly natural for sexual preferences and ideas to differ from one person to another and the people who should really be "on the couch" are those who fail to acknowledge this acceptibility of qualities deemed "PERVERSE" in the public eye. Let me provide full disclosure here in saying that I have no citation for these Freudian views. I am simply working on what I understand from my professor's words on the subject.

For one more view of what a makes a PERVERT a PERVERT, I consulted the OXFORD ENGLISH DICTIONARY which produced this definition of the word "PERVERSE": "Of a person, action, etc.: going or disposed to go against what is reasonable, logical, expected, or required; contrary, fickle, irrational." So, one of the most respected dictionaries in the world gives a fairly broad definition of the word that echoes FOUCAULT's definition, but also throws in the words "fickle" and "contrary," which I suppose would rope in anyone who has an unstable, fluctuating sense of sexuality and one who does the exact opposite of what is considered the SEXUAL NORM, which, I suppose, would be around HETEROSEXUAL, VAGINAL INTERCOURSE.

Now, back to the WOODY ALLEN film: the aforementioned story that comes after the question about perversion shows a black-and-white game show that features a panel of celebrities, that includes one REGIS PHILBIN, asking yes or no questions in attempt to guess the contestant's particular perversion. As it turns out, the contestant apparently GETS HIS ROCKS OFF by exposing himself in public places (pictured,left; please excuse the poor photo quality). Immediately after the game portion of the show, the host reveals the winner of a mail oriented contest in which contestants send in their fantasies and the best fantasy will then be enacted on the show. Said winner is a Hasidic Jew whose fantasy involves his wife getting on her knees and eating pork while he is scolded and chastised by a dominatrix.

So with all of these examples of SEXUAL PERVERSION, which one can we decide on as THE definition for this mysterious, yet ubiquitous, word? If PERVERSION is deviation from the SEXUAL NORM, then what is this SEXUAL NORM in the modern western world? Well, I consulted the ever-trustworthy source of WIKIPEDIA for an answer and guess what it is? WIKIPEDIA says that, "In the West, many people have relaxed the traditional definitions of normality, choosing instead to define normal sexuality as any sexual practice which does not involve what are regarded as sexual perversions." This takes us in a big circle that again gives rise to the questionm, "WHAT IS A SEXUAL PERVERT?"

In ALLEN's film, the contestant with the hidden PERVERSION appears as a kind old man who looks like he a could be a loving grandfather. The only reason he is a PERVERT is because he is on the fictional gameshow, What's My Perversion? He does not seem strange or threatening until we hear what the man's PERVERSION is. But wait, let's take the answer in two halves: "He likes to expose himself." This does not sound so bad; maybe the man just likes to show his partner his genitals and he likes to hear feedback and admiration. Okay, no big deal. But "IN PUBLIC!" This is where the old man could really upset some people. Does this mean that a PERVERT is not a PERVERT unless he or she acts upon the sexual drive and projects it on to a non-consenting partner? I think this may have something more to do with it, but what if the person in question has desires to expose his or her genitals in public, but stifles the urges. Is this person still a PERVERT in the public eye (considering that the public somehow knows about the person's urges) and can this person be accepted in society because the stifling of his or her urges creates the illusion the he or she fits into the SEXUAL NORM?

I have been writing this BLOG POST on and off all day and still feel as though I am still pretty far away from an answer to the question at hand. I would appreciate some help if anyone has any incite into what it means to be a SEXUAL PERVERT.

A Streetcar Named Desire and the "Age of the Chest"

Wow, folks. I cannot believe it has been over two months since I last posted. I never wanted to have such a massive gap in my BLOG's life, but a small bout of WRITER'S BLOCK turned into an extended period of BLOG APATHY, which I hope will end with this post. I am not proud of my inactivity, but I have come to terms with it and am ready to move forward.

Let me catch you up to speed with my whereabouts as they have fluctuated since we last spoke and I think it will help to put my (hopefully) forthcoming POSTS into perspective. I have departed from the WINDY CITY of CHICAGO after an eductional, enjoyable and enlightening two month stay. I have traveled back down to VIRGINIA, gone on a family beach trip in NORTH CAROLINA, gone back to VIRGINIA and driven back to my school in SOUTH CAROLINA, where I have been for about the past month. I have returned to work at the Columbia-located AMERICAN APPAREL and have been in my JUNIOR YEAR of school for three weeks.

Before addressing the MEAT of this POST I would like to DEDICATE it to the anonymous user who encouraged me to update my blog. Thankyou.

The MEAT:

Today I read KRISTEN HATCH's essay called "Movies and the New Faces of Masculinity" for my '50s and '60s Cinema class. In this essay, HATCH addresses the arrival of actors MARLON BRANDO and MONTGOMERY CLIFT on the HOLLYWOOD scene in 1951 and how both of these actors completely shattered the proconceived notion of the Hollywood star and introduced new acting methods, behavioral norms and ideals about MASCULINITY. She discusses BRANDO and CLIFT's refusal to date Hollywood starlets for publicity, their shunning of materialism and, most important of all, the fact that each of these men changed the societal norm for MASCULINE BEHAVIOR both on and off the screen.

HATCH addresses BRANDO's role in A Streetcar Named Desire (1951) and highlights the actor's repeated shirtless appearances throughout the film. Apparently in this film (which I will be watching tomorrow for my class) BRANDO's character, STANLEY KOWALSKI is featured in soaking wet shirts that cling to his well-toned body and is displayed prominently without any kind of torso covering. This may not sound so RADICAL or OUTRAGEOUS in modern times, but HATCH states that, "The film's cinematic celebration of Brando's chest was recognized by cultural commentators at the time as a turning point in the representation of male body." She goes on to say that a 1958 PLAYBOY article jokingly references A Streetcar Named Desire "...ushering in the 'Age of the Chest' by making 'American chest concious.'" This portion of the book features this picture (at left) as an example of the actor's look circa Streetcar.

HATCH goes on to describe how this role flipped around LAURA MULVEY's theory of film's gaze being from a male perspective that objectifies women (which actually wasn't written until 22 years after) which would put the film's director, ELIA KAZAN, way ahead of the film culture curve. BRANDO's body in Streetcar was actually deemed "too desirous" and the Production Code Administration of that time had to downplay much of the film's sexual content. In concluding her essay, HATCH explains how "...the revolutionary possibilities of [Brando and Clift's] nonconformity were disregarded as childlike, unmanly" and that their mere physical presences onscreen served to "...offer new and unheralded erotic possibilities."

WOW! This absolutely blew me away when I read it! I know MARLON BRANDO was a big sex symbol in his day, but the fact that he completely revolutionized the way most women FETISHIZE a male is unbelievable! Just think of all of the advertisements for WORKOUT MACHINES, DIET PILLS, GYM MEMBERSHIPS, ATHLETIC APPAREL, etc. that all feature muscly, well-toned men as the desirable physique for men to embody and for women to possess. ALL OF THESE ideals stemmed from BRANDO's insecure, immature character in this 1951 film. This is basically proclaiming that he is the BEATLES (pictured, left) or the MIGUEL DE CERVANTES (pictured, above right) of anatomical builds.

It seems absurd to think that a man is depicted onscreen with no shirt on, something EVERYBODY does EVERY day (and there had to have been MUSCLY MEN around in the form of, say, construction workers or wrestlers), and causes a complete EROTIC REVOLUTION. I guess that the rest of the modern western world and I are immune to these sort of happenings now because we are so used to MASS CULTURE shoving different ideals in our faces, and I suppose these standards had to start in places like the film adaptation of A Streetcar Named Desire. MASS CULTURE is a very recent imposition onto the world it already seems strange to think of one specific image as having such a vast effect on people.

Reggaeton's Place in Modern Music

As discussed in my BLOG POST about REGGAETON, my surroundings have piqued my interest in this Latin America genre. I would still consider my research on the subject to be very superficial, but today I was reading about REGGAETON as compared to LATIN HIP-HOP, two genres which before I had considered to be synonymous with one another. The WIKIPEDIA article which I have been reading, though, begs to differ. REGGAETON has apparently garnered many comparisons to HIP-HOP and RAP music because the words are, in fact, rapped, and not sung. The article states that the only real difference between the two is that reggaeton beats are influenced by genres like REGGAE and DANCEHALL while true Latin hip-hop more resembles MAIN-STREAM HIP-HOP.

The idea that the only characteristic that keeps reggaeton from turning into hip-hop is the "DEM BOW" beat brings up the question of how this genre came to stand on its own in the first place. It seems as though reggaeton would just fall under the umbrella of LATIN AMERICAN HIP-HOP rather than be considered a completely different entity. I do not mean to question the artistic integrity of this genre, but only to inquire about the line that this music straddles and what actually has change to create an entirely new genre of music.

Let us consider two songs outside of the Latin pop world in which the vocal patterns are similar, but the instrumentation is obviously different: ever since hearing both of these songs I have considered BOB DYLAN's "LIKE A ROLLING STONE" and LOVE's "BUMMER IN THE SUMMER" to endorse very similar lyricism and intonation; not in subject matter, mind you, but simply in the way that ARTHUR LEE and DYLAN emphasize and sing the words. The music behind each song is obviously very different (I wish I could insert mp3s of each, but, alas, I do not know how). Sure, they both endorse the standard rock and roll set up of guitar, bass, drums and piano, but it would be very difficult to confuse the two if they were played as instrumental tracks. Now, I ask, would one really create different genres under which to categorize these songs? As another example: THE POLICE are noted for their influence of reggae, but does that really remove them from the genres of pop or rock and roll?

Let us view another example in the form of the DIWALI RIDDIM, a DANCEHALL rhythm that uses syncopated clapping and is named for its BOLLYWOOD influence. This RIDDIM is present in SEAN PAUL's 2003 single, "GET BUSY," a song that brought DANCEHALL to the attention of many. It was not long, though, before this RIDDIM showed up in other popular songs like LUMIDEE's "NEVER LEAVE YOU (UH OOOH, UH OOOH) and MISSY ELLIOT's "PASS THAT DUTCH".

As all of these artists continue to draw similar influences, the line becomes thinner among all of these urban styles that are indigenous to various regions of the world.

With all of these styles starting to share similar RIDDIMs and hip-hop artists continuing to collaborate with reggaeton artists like DADDY YANKEE, are Latin American hip-hop, main-stream hip-hop and reggaeton becoming increasingly similar and will they soon form one homogenous, all-encompassing melting pot (pictured) of a genre? I have often had trouble with the idea of categorizing everything into specific genres, and this question only gives rise to other ones. POPULAR MUSIC is a very broad way to discuss modern music and I realize that some differentiation is helpful, but this reggaeton and Latin American hip-hop classification is really making my head spin.