On the Triumph of Karaoke Culture and Punk Pantomime

Poster design for Pretty Vacant - The Story of Punk & New Wave 

(Not exactly Jamie Reid, is it?)

 

 

I. 

 

Shortly before he died in April 2010, Malcolm McLaren bemoaned the fact that artistic creativity (which is a chaotic phenomenon that often ends in failure) was increasingly becoming impossible within what he described as a karaoke world - i.e., an ersatz society, that only provides us with an opportunity to safely revel in the past achievements of others; a life lived by proxy [1]. 

 

And, whilst I'm a little uneasy with his use of words like authenticity, McLaren was making an important (though hardly original) point: Britain's got talent; but it's lost its soul. 

 

And so it is, fifteen years on, the Dominion Theatre in London's West End and numerous other venues around the UK and Ireland are planning to stage Ged Graham's Pretty Vacant - The Story of Punk & New Wave ...   

 

II.

 

Ged Graham is a 62-year-old Irish writer, musician, actor, podcaster and producer; what my mother would call a jack of all trades, but, let's be generous, and say he's a multi-talented and versatile individual with a great many passions and ideas. The sort of person who, when you speak with them, always has another project in the pipeline. 

 

The sort of person also who claims to have lived through punk as a teenager and now, à la Danny Boyle, wants to turn this event into a musical stage show; a combination of pantomime, karaoke, and nostalgia for those who want to sit down and enjoy an evening's entertainment. As Graham says in an interview: 

 

"At sixty-two you don't want to be in a nightclub, watching a band on stage. You want to be sat down with a glass of wine or an £8 bottle of beer in a theatre. The old knees just don’t want to do the standing up gigs anymore ..." [2] 

 

That may be true: but not all of us have come to the conclusion that punk is now simply a family-friendly narrative that provides an opportunity to reminisce and have a good singalong; some of us don't wish to be taken on a rollercoaster ride by an incredibly talented cast of musicians, singers and dancers; some of us seriously doubt that the punk attitude can be recreated on stage (even if it can be mimicked, just as punk fashions can be knocked up by costume designers).   

 

Graham may insist in a promotional statement that Pretty Vacant is "not just a show - it's a rebellion against the ordinary!" [3] - but that, as Steve Jones would say, is a load of old bollocks.  

I don't know if Malcolm will be spinning in his grave at this latest development, or looking on with Sid and laughing. But I do know that members of the following bands who - along with many, many more - presumably gave permission for their music to be used should hang their heads in shame:

 

Sex Pistols

The Clash

Blondie

The Damned

Ramones

Buzzcocks

Sham 69

The Undertones

Tom Robinson Band

Ian Dury and the Blockheads

The Police

The Jam

Generation X

Siouxsie and the Banshees

The Pretenders

Joy Division

The Stranglers

The Rezillos [4]

 

 

Notes

 

[1] Readers who are interested can click here to watch McLaren deliver his final public talk at the Handheld Learning Conference (2009). Originally entitled 'Never Mind the Bollocks, Here's the Txt Pistols', the talk is now better known by the title it appears under on ted.com - 'Authentic creativity vs. karaoke culture'. 

[2] Interview with Ged Graham by Kevin Cooper on UK Music Reviews (5 March 2024): click here. 

[3] Click here to read this statement in full on the Pretty Vacant website. You can also buy tickets, visit a picture gallery, sign up to a mailing list, or watch a trailer for the show on the website. The latter can also be found on YouTube: click here.  

 

[4] Obviously, I am disappointed with some of these bands far more than others.    

Openly Jewish (This is the Nine O'Clock News in London 2024)

An unidentified policeman prevents Gideon Falter 

from crossing the road 

 

 

I have to admit, I was never a fan of the BBC satirical sketch show Not the Nine O'Clock News (1979-82); too smug and Oxbridgey for my tastes I'm afraid [1].

 

And apart from the sketch featuring Pamela Stephenson in a white bra inviting an American Express card holder to rub her tits [2] - and the one featuring Rowan Atkinson as Gerald the gorilla (Wild, I was absolutely livid!) [3] - there is really only one other memorable sketch ...

 

And that's the one in which Atkinson plays a police inspector questioning Griff Rhys Jones's constable Savage, who has repeatedly brought ludicrous and trumped up charges against a Mr Winston Kadogo, on the grounds that he possessed "curly black hair and thick lips" [4].     

 

I thought of this sketch skewering police racism when I heard an officer (outrageously) threaten to arrest a man in central London for being openly Jewish ... [5]

 

 

Notes

 

[1] The three male performers in Not the Nine O'Clock News - Rowan Atkinson, Mel Smith, and Griff Rhys Jones - were all public school boys who went on to study at Oxbridge. Most of the writers on the show, including Andy Hamilton, Clive Anderson, and Richard Curtis, were also graduates of these elite universities.     

[2] Series 2, episode 3 (1980): click here.

[3] Series 2, episode 5 (1980): click here.

[4] Series 3, episode 2 (1980): click here.

[5] Gideon Falter, chief executive of the Campaign Against Antisemitism, was prevented from going about his lawful business and threatened with arrest for potentially antagonising members of a pro-Palestinian march by his very Jewishness (Aldwych, Sat 13 April, 2024): click here.   

     

 

 

Where History and Crime Intersect: On the Philosophical Fascination for Murder with Reference to the Case of Prado

Prado (aka Count Linska de Castillon)

L'homme le plus intéressant du monde

"Crime is glorified, because it is one of the fine arts, because it can be the work only of exceptional natures, because it reveals the monstrousness of the strong and powerful, because villainy is yet another mode of privilege."  - MF

 

 

I. 

 

I mentioned in a recent post how the artist Paul Gauguin was fascinated by the trial of the Spanish-born thief and murderer known as Prado, and how he (and 200 other famous faces) witnessed the execution of the latter on 28 December, 1888; an event which - along with Van Gogh's self-mutilation a few days earlier - inspired his brutal ceramic self-portrait in the form of a jughead [1].

 

But what I didn't discuss was why it is so many artists and intellectuals have a fascination with crime and seem to feel a sense of affinity with violent criminals. So I thought I'd do that here, with particular reference to the Prado case, which Nietzsche mentions in his brief correspondence with the prolific Swedish writer August Strindberg, shortly before his collapse in the first week of January 1889.  

 

 

II.

 

Whilst it is known that Prado was (i) born in Spain; (ii) brought up in the large coastal city of Gijón; (iii) had already travelled the world before turning sixteen; and (iv) twice married, history doesn't record his real name - and he chose never to reveal it. 

 

Ending up in France, Prado lived by his wits; which is to say by stealing and poncing off the girls who thought he loved them. 

 

In January 1886, he cut the throat of one of these girls - Marie Aguetant - who was believed to support herself (and him) by working as a prostitute. After being eventually caught and put on trial, Prado was sentenced to to death by guillotine at La Roquette Prison, Paris [2].

 

For some reason, his story captured the imagination of press and public alike, including members of the cultural elite, who regarded him as an intrepid adventurer. He was even said by some to be the most interesting man in the world.       

 

 

III. 

 

As mentioned, even Nietzsche, writing to Strindberg in late 1888, praises Prado and claims that he wrote Ecce Homo in the manner of the latter. It is, he says, in his nature to love such individuals and, as a philosopher, he prides himself on the fact that he has become familiar "with more evil and more questionable worlds of thought than any one else" [3].   

 

Strindberg is clearly a little taken aback by this and is not convinced that there's anything to admire or imitate in those who live outside the law: 

 

"It appears to me that in your liberality of spirit, you have to some degree flattered the criminal types. If you regard the hundreds of photographs which illustrate Lombroso's types of criminal, you will be convinced that the felon is a low sort of animal, a degenerate, a weakling who does not possess the necessary faculties to enable him to evade the more powerful laws which oppose themselves to his will and power. Just observe how stupidly moral most of these brutes really appear!" [4]

 

Nietzsche replies to this in a letter written in Turin, dated 7 December:      

"There is no doubt that the hereditary criminal is decadent, even feeble-minded. But the history of criminal families, for which a vast amount of material has been collected by Galton in his Hereditary Genius, always leads us back to some individual who happened to be too strong for some particular stratum of society. The last great trial of the criminal Prado gives us a classical example. Prado was superior to his judges and his lawyers in self-control, spirit and audacity." [5]

 

This attraction felt by artists and philosophers for criminals is discussed in an excellent essay by Lisa Downing, who examines Michel Foucault's fascination with those who have a penchant for murder; an event of prime interest where, the latter argues, history and crime intersect ...

 

 

IV.

 

Alonside the homosexual and the pervert, the figure of the criminal appears in Foucault's work as one of the quintessential modern subjects produced by the various discourses of the medical and legal professions. 

 

Whilst he seems to have sympathy (and affection) for anyone deemed abnormal, it's the murderer whom he finds particularly attractive, thereby following in a Romantic tradition that associated art and rebellion with evil, and imagined that the writing of literature was itself an act of criminal transgression. 

 

Foucault is an original thinker, but it's difficult to imagine his work in this area without referring back to that of Sade, Nietzsche, and Bataille, all of whom were intrigued by the relationship between words and deeds, the socio-linguistic construction of criminality, and the manner in which truly sovereign individuals might express their sovereignty.      

 

Foucault isn't concerned with the motivations of a murderer, but, rather, "the historical, epistemic conditions - the cultural preoccupations, fantasies, fears, norms, and power struggles for authority - that conditioned the production of the crimes and shape our understanding" [6]. 

 

Which is fair enough. 

 

However, whilst commenting on the aesthetic rewriting of crime which occurred in the 18th and 19th centuries: 

 

"Foucault at times seems to fall prey to the very fascination he describes. The terms in which he discusses the act of murder are often ambiguous and ambivalent: they occupy a place somewhere between describing an attitude and embodying it." [7]

 

As evidence of this, Downing quotes a passage from I, Pierre Rivière ... [8]:

 

'Murder is the supreme event. […] Murder prowls the confines of the law, on one side or the other, above or below it; it frequents power, sometimes against and sometimes with it. The narrative of murder settles into this dangerous area; it provides the communication between interdict and subjection, anonymity and heroism; through it infamy attains immortality.' [9]

 

As Downing rightly asks, wtf is Foucault doing here: is he "mimicking the popular hyperbolic fantasy of the act of murder as rebellious gesture of social contestation, committed by the 'outsider'", or is he (unwittingly or otherwise) "glorifying it, reveling in it?" [10].

 

For Downing, Foucault has the hots for Rivière with his beautiful reddish-brown eyes, and this erotic-aesthetic aspect of his writing on criminals strikes a discordant note to say the least. That said, it should also be noted, of course, that "the pleasure Foucault finds in Pierre Rivière’s confession" [11] is first and foremost of a textual nature. 

 

Downing concludes that what Foucault's (slightly kinky) fascination with criminality suggests most compellingly "is the extent to which, just as none of us can step outside of power, so none of us are entirely separate from the tastes and seductions of our own cultural moment" [12] - even if we are philosophers ... 

 

 

Notes

 

[1] See the post entitled 'A Tale of Two Toby Jugs' (19 April 2024): click here. 

 

[2] On the morning of his execution, Prado showed no emotion and even laughed at the priest who had come to comfort him for being more nervous than he was. He also requested that the priest didn't waste his breath speaking of God, or walk beside him to the scaffold. All of which is, if true, extremely admirable.  

 

[3] Nietzsche writing to August Strindberg, quoted by Herman Scheffauer in 'A Correspondence between Nietzsche and Strindberg', The North American Review, Vol. 198, No. 693 (August 1913), pp. 197-205. This essay can be read on JSTOR: click here.

 

[4] Letter from August Strindberg to Friedrich Nietzsche, quoted by Herman Scheffauer in the essay cited above.

 

[5] Letter from Nietzsche to Strindberg, quoted by Herman Scheffauer, op. cit.

 

[6] Lisa Downing, 'Foucault and true crime', in Lisa Downing (ed.), After Foucault: Culture, Theory and Criticism in the 21st Century (Cambridge University Press, 2018), pp. 185-200. I am quoting from the online version of this essay: https://doi.org/10.1017/9781316492864.014 

 

[7] Ibid.

 

[8] I, Pierre Riviére, having slaughtered my mother, my sister, and my brother: A Case of Parricide in the 19th Century, is a study by Michel Foucault, trans, Frank Jellinek (University of Nebraska Press, 1982). 

 

[9] Lisa Downing, quoting Foucault from I, Pierre Riviére ... in 'Foucault and true crime' (op. cit.)  

 

[10-12] Lisa Downing, 'Foucault and true crime' ...

 

  

A Tale of Two Toby Jugs

Fig. 1: Paul Gauguin: Jug Self-portrait (1889)

Fig. 2: Friar Tuck character jug made in England (mid-20thC)

 

I. 

 

The 19th-century French artist, Paul Guaguin, was an interesting and influential figure who produced some astonishing work in a number of mediums, including ceramic; first during the period 1886-1888 (a couple of months of which he spent living in Arles with his friend Vincent Van Gogh) and then again from 1893-1895 (after returning to Paris from his first trip to Tahiti).  

Whilst there are thought to be around sixty of Gauguin's ceramic pieces still surviving, the one that is perhaps best known is a self-portrait in the form of a jug made shortly after his famous bust-up with Van Gogh, in early 1889. 

 

Whilst being threatened with a razor and then having to deal with a madmen cutting off part of his left lughole would undoubtedly be unsettling, Gauguin also witnessed a second traumatic event a few days later; the beheading of a notorious Spanish murderer, Prado, in Paris [1].

 

These two things clearly influenced his macabre and grisly ceramic self-portrait, in which coloured glaze is used to suggest blood running down the side of his face and congealing at his neck. If one looks closely, one sees that an ear is missing. The closed eyes, meanwhile, suggest a death mask. 

 

It's a brilliant - if brutal - work, reproductions of which largely fail to convey both the brilliance and brutality.

 

 

II. 

 

Having said that, I still wouldn't swap the Friar Tuck Toby jug [2], pictured above, which was one of my mother's most treasured possessions and which she kept in the cupboard by the gas meter for over seventy years.  

 

For despite the fact that this object used to frighten me as a small child and lacks the artistic, cultural and finacial value of Guauguin's piece, it means far more to me. Walter Benjamin insists that a mass manufactured object lacks aura - but that, I find, is simply not true. 

 

Or, even if it is true, I don't care; my mother's Friar Tuck Toby jug has a magical presence for me (as well as sentimental value, which certain intellectuals like to sneer at and find indecent, although Roland Barthes appreciated its importance).        

 

Notes

 

[1] Prado had murdered a prostitute. Gauguin - like Nietzsche - thought his sentence unjust and the execution profoundly disturbed him; not least because, according to his account, it was botched and it took two attempts to decapitate the prisoner. 

      Prado was executed on 28 December, 1888. Van Gogh, with whom Gauguin had discussed Prado's case, mutilated his ear on 23 December. Thus, it was anything but a merry Christmas that year for Gauguin. 

 

[2] I'm sure a collector or an expert in this area will tell me that what I have is not, in fact, a traditional Toby jug, but rather a character jug - the difference being that the latter only features the head and face and not the full body. Be that as it may, my mother always called her piece a Toby jug and I grew up referring to it as such and don't intend to stop calling it a Toby jug now.  

 

 

On the Feral Poetry of Fran Lock

 

Fran Lock in human and hyena form

 

 

Fran Lock likes to describe her poetic practice as feral - by which she means "omnivorous, opportunistic, accretive and excessive" [1]. 

 

Hers is not a poetry which germinates in "periods of quiet sustained reflection", but one cobbled together with a certain violence and a needs-be-as-needs-must attitude born of her working-class background. 

 

But is it any good? Based on the work I've read so far, I'd say it is ...

 

Or, at any rate, I'd say that - as a Deleuzian - it appeals to me, because, like Kafka, Lock is not attempting to express the inexpressible, or impose a coherent and conventional linguistic form on lived experience, so much as construct a minor literature. 

 

In other words, she problematises everyday language which all-too-easily and all-too-often becomes sticky with familiar use and overlaid with doxa. 

 

Raised with a strong sense of her Irish heritage, Lock carries English away from itself and opens up a kind of foreign tongue within it; not by simply inventing neologisms, but by forcing a dominant language out of its usual syntactic conventions and thereby making it stutter or scream and travel to its own external limits (limits which are not outside language, but are the outside of language).

 

It's no surprise that Lock is also interested in therianthropy, because writing at its best always effects a becoming-animal (be it insect, hyena, or great white whale) [2] and transports us from the land of Oedipus to that zone of indiscernibility wherein we can lose our domesticated human selves and experiment with wild forms of otherness.  

 

She doesn't always succeed, but that's okay; Lock has learnt to assume the risks of failure and embrace her "moments of humiliated over-reach", continually pushing not only beyond her own comfort zone but her own competence. 

 

It's better, she argues, to be thought ridiculous than boring and if that alienates some readers and critics, she doesn't care; "I’m not a branch of the service industry, and nobody said my relationship to the people encountering my work had to be gentle or friendly."  

 

That's a statement that makes an old punk very happy ...

 

 

Notes

[1] Fran Lock, 'T. S. Eliot Prize Writers' Notes', on the Poetry School website: click here. All lines quoted here are from this text. 

 

[2] Admittedly, and somewhat disappointingly, Lock refers her idea of becoming animal (understood in terms of literal transformation) back to the American author Charles Hoy Fort and his book Wild Talents (1932), and not to Deleuze and Guattari's more philosophical notion developed in Mille Plateaux (1980). 

 

 

Bonus: to watch Fran Lock briefly talking about her work, her relation to language, and animal transformation fantasy, click here. 

 

 

I am grateful to Chloe Rose Campbell for introducing me to the work of Fran Lock. 

 

 

Fran Lock: In Praise of the Exclamation Mark!

 

I have to admit, I've never been a big fan of the exclamation point ... 

 

It may have a perfectly respectable Latin origin and have been used since the 14th-century, but it is today the punctuation mark favoured by the kind of people who don't know how to curb their enthusiasm; the kind of people who always telegraph how they are feeling; the kind of people who also employ emojis and resort to uppercase letters for emphasis; the kind of people who laugh at their own jokes.  

 

There are times, perhaps, when it's use is necessary and unavoidable. 

 

But it should always be used sparingly - even if you happen to be female and thus have a gendered predisposition for its usage, like Elaine Benes [1]. Or even if, like the poet Fran Lock, you view it as a species of typographical hyena and mount a stirring defence of its use on class (and queer theoretical) grounds:

 

"I love the exclamation mark with all its thrillingly ambiguous expressive effects. I like its over-the-topness, how it conveys both volume and intensity. I'm not supposed to. I spent nearly four years in academia having the principles of good middle-class prose ironed into me. Snobbery about the exclamation mark is one of those principles: it's tabloidy, a kind of gutter punctuation; it belongs to popular culture, has a rich, kitsch tackiness to it, a tacky kitschiness. It's working-class. It comes from poverty, like me. Proletarian and camp in equal measure. I see the exclamation mark as a species of typographical hyena: no one knows how to read it. Is it a threat? A warning? A joyous whoop? [...] I think of it as queer." [2] 

 

Notes

 

[1] One recalls how upset Elaine got with her writer boyfriend, Jake Jarmel, for his unwillingness to use exclamation marks in the series 5 episode of Seinfeld entitled 'The Sniffing Accountant' (dir. Tom Cherones, 1993): click here to watch the relevant scenes on Youtube. 

 

[2] Fran Lock, speaking in an interview with Karolina Ros Olafsdottir in Issue 100 of Poetry London (Autumn 2021). To read online click here. I have to confess, Lock has almost made me reconsider the question of the exclamation mark. 

Unidentified Anomalous Phenomena

Unidentified Anomalous Phenomena  

(SA/2024)

 

 

In 2022 NASA assembled an independent study team [1] to analyse what are known as unidentified anomalous phenomena [2]. 

 

Headed by David Spergal, the UAPIST consists of sixteen experts who, presumably, like Fox Mulder, are motivated by the belief that the truth is out there (although is unlikely, in their view, to be extraterrestrial or paranormal in origin) [3].

 

According to Spergal, many - if not most - UAP events can be attributed to everyday causes, including weather balloons and atmospheric phenomena. However, he concedes that there remain events which cannot easily be explained and these warrant, in his view, further investigation, as anomalies sometimes reveal new and interesting facts about the universe. 

 

Unfortunately, I believe the UAPIST was dissolved upon the completion and submission of its final report in September 2023 - which, if true, is a real shame, as I was hoping someone from the team might be able to tell me what the three bright and colourful lights dancing about like sprites outside my bathroom window the other night were ... (see photo above).  

 

 

Notes

 

[1] Go to the NASA website for more information on the UAP Independent Study Team: click here.

 

[2] Apparently, the term UAP first appeared in the late 1960s, although I had never heard it used until very recently. Those who privilege the term see it as a more encompassing description than the older term UFO and also free of the cultural associations attached to the latter which can be problematic for those wishing to conduct rigorous, evidence-based research.

 

[3] The UAPIST began work in October 2022 and held its first public meeting in May 2023. Their final report was released in September 2023 and did not find any evidence to suggest that extraterrestrial life was responsible for the mysterious and unusual things that all manner of people had observed.   

 

 

Crass By Name ...

Penny Rimbaud peering out from behind the Crass logo

I.

 

The Horse Hospital is a Grade II listed building in Bloomsbury, built by James Burton, in 1797, as a place of rest for sick and tired horses, notable for its unique stone tiled floor.

 

Since 1992, however, it has been an independent arts venue exhibiting work by those who like to think of themselves as being underground, countercultural, or avant garde. The kind of place that boasts about not only championing the outsider, but, by rejecting professionalism and the market, refuses to sell out:

 

'We are alternative, celebrating individualism, anti-conformism, sincerity and integrity ... Embracing the romantic and the life affirming.'

 

But then, having said that, it prides itself also on the fact that it is 'firmly established in the London arts and fashion industries' and has worked in conjunction with many prestigious organisations: 'giving the Horse Hospital international recognition'.

 

It also isn't shy about asking for financial donations from would-be supporters and selling 'Everything from original Artworks, Posters, DVDs, Books, Magazines, CDs and T-shirts to just mad shit we think you'll like' (the latter including an official Horse Hospital pin badge for £10, which works wonderfully on any lapel).   

 

Readers can make up their own minds about this, but, needless to say, it's not really my kind of place and it seems to me that in the transition from purpose-built stable to progressive arts venue the honest smell of 19th-century horseshit has been replaced with an odour of sanctimonious bullshit.    

 

 

II.

 

Perhaps not surprisingly in light of what I say above, three members of the anarcho-hippie art collective Crass [1] - Gee Vaucher, Steve Ignorant, and Penny Rimbaud - chose the Horse Hospital last night to launch their new book, CRASS: A Pictorial History 621984 - 4022024 (Exitestencil Press, 2024) [2].

 

Whilst I have time for Vaucher and her artwork - and would recommend the recent study by Rebecca Binns; Gee Vaucher: Beyond Punk, Feminism and the Avant-Garde (Manchester University Press, 2022) - I am less sympathetic to Messrs. Ignorant and Rimbaud. 

 

Ignorant - a young Clash fan who fell under the influence of Vaucher and Rimbaud when staying at Dial House [3] - was the Crass vocalist who provided the group with a certain working-class credibility. And he still seems to happily play this role now; a kind of punk court jester wearing his cor blimey trousers and effing and blinding like a trooper. 

 

The perfect comic foil, in fact, to Rimbaud's philosopher-king, and, despite all the pretence that Crass operated as a community of equals, I think it was pretty clear that Rimbaud - or Pen, as his friends and devoted followers like to call him - is the first among equals. 

 

If I was interested in what Vaucher had to say and vaguely amused by Ignorant, I was taken aback by the ramblings of Rimbaud who, it seems, has learnt absolutely nothing in the last 40 years, still maintaining his belief in revolution and still aching like Walt Whitman with his love for universal humanity (born of his romantic idealism rather than any true feeling for others).

 

There was something senile and self-regarding about Rimbaud that I really didn't like and so I'm glad that I didn't have to pay the £5 entrance fee, as I wouldn't wish to have given even a penny for his thoughts [4].

 

 

Gee Vaucher and Steve Ignorant

 

Notes

 

[1] I know some people will insist that Crass are first and foremost an anarcho-punk band, but I always felt they were rooted more in the Summer of Love than the Summer of Hate; just because hippies wear black that doesn't mean they stop being hippies. Steve Ignorant may belong to the punk generation and have something of the punk attitude, but Penny Rimbaud and Gee Vaucher clearly have a very different background and perspective and are often dismissive of punk (and youth culture in general). 

 

[2] The numbers are dates: though keen-eyed readers will note that they have either missed out a zero in the first date or mistakenly added a zero in the second.

 

[3] Dial House is the large, Grade II listed, 16th-century farm cottage on the outskirts of Epping Forest, Essex, where Penny Rimbaud and his partner Gee Vaucher established an open-house and creative arts centre in the 1960s. It remains an anarcho-hippie haven to this day.   

 

[4] Nor would I pay the £50 asking price for the book being promoted, though plenty did; they even waited patiently in line to have the book signed by their heroes (bless). 

Disney Über Alles

The Happiest Place on Earth [1]

"Children, I wanna warn ya / 'Cos I've been to California

Where Mickey Mouse is such a demon / Where Mickey Mouse is as big as a house!" [2]

 

 

I.

 

Cotino is the first Storyliving community being developed by Disney in Rancho Mirage, California. Work started on the 618-acre site - which will feature residential housing, hotels, resort facilities, and a retail centre, all surrounding a 24-acre grand oasis and an artificially blue lagoon - in April 2022. 

 

Disney are so confident that it will be a successful venture, that, in December 2023, they announced plans for a second such community, Asteria, in Pittsboro, North Carolina, which will include 4,000 homes (the same month that the first houses in Cotino went on sale, although the community will not be opened until 2025).    

 

 

II. 

 

In an article published in The Guardian [3], Oliver Wainwright discusses Disney's plan for curated living, i.e., a life which unfolds in a perfectly stylised and completely controlled environment so as to ensure that residents and guests experience the magical joy that the company has been peddling for a hundred years.    

 

Wainright calls it a fantasy world, but it's really much more (and more sinister) than that; this is a model of zen fascism overseen by Mickey Mouse and other Disney cast members where neighbours will be able to "bond over Disney-themed art lessons, enjoy dinners inspired by Disney stories and join family days with Disney-related activities". 

 

Wainright also informs us that the themed homes curated by Disney imagineers will be priced in excess of $1m, whilst the forthcoming town centre will feature "a street market where local artists will sell Disney-themed arts and crafts" and there will be "'abundant opportunities for laughter'". 

 

Oh, and if you're wondering how to keep a large lake sparkling blue all year round in an area that suffers from extreme drought, well, that's thanks to patented Crystal Lagoons technology.   

 

This expansion by the world's largest mass media and entertainment conglomerate into the real world is surely something that Uncle Walt would have approved of and might have amused Jean Baudrillard were he still alive to witness it ...

 

 

III.

 

Baudrillard wrote an important piece on Disneyland more than forty years ago in his seminal text  Simulacres et Simulation (1981), describing it as "a perfect model of all the entangled orders of simulacra" and a "frozen, childlike world [...] conceived and realized by a man who is himself now cryogenized" [4] and awaiting resurrection.  

 

Obviously Disneyland exalts American values in miniature and cartoon form. But it does more than this: its real purpose is to conceal the fact that it is the real America, just as prisons are built in order to disguise the fact that society is itself carceral. 

 

Baudrillard writes: 

 

"Disneyland is presented as imaginary in order to make us believe that the rest is real, whereas all of Los Angeles and the America that surrounds it are no longer real, but belong to the hyperreal order and to the order of simulation. It is no longer a question of a false representation of reality (ideology), but of concealing the fact that the real is no longer real, and thus of saving the reality principle."

 

He continues: 

 

"The imaginary of Disneyland is neither true nor false, it is a deterrence machine set up in order to rejuvenate the fiction of the real in the opposite camp. Whence the debility of this imaginary, its infantile degeneration. This world wants to be childish in order to make us believe that the adults are elsewhere, in the 'real' world, and to conceal the fact that true childishness is everywhere - that it is that of the adults themselves who come here to act the child in order to foster illusions as to their real childishness." 

 

With the opening of Cotino next year, I'm not sure whether the Disney executives so skilled in playing this game of concealment have finally triumphed and the Happiest Place on Earth will soon expand across the globe, or if, perhaps, they have made a fatal miscalculation and all but the most fanatic of Disney adults will decide they've had enough of staged reality and curated living.    

 

 

Notes 

[1] This was the original slogan for Disneyland, Est. 1955. 

 

[2] Lyrics from 'Do You Wanna Hold Me?' by Bow Wow Wow, from the album When the Going Gets Tough, the Tough Get Going (RCA Records, 1983): click here.

 

[3] Oliver Wainwright, 'Let's move to Disney Town! Will life in its 2,000 themed homes be a dream or a nightmare?' The Guardian (08 April 2024): click here.

[4] This text by Baudrillard was translated into English as Simulacra and Simulation by Sheila Faria Glaser (University of Michigan Press, 1994). Material quoted here and following is from a section entitled 'The Hyperreal and the Imaginary' in the first chapter, 'The Precession of Simulacra'. See pp. 12-14. 

 

What Was I Thinking? (8 April)

Images used for the posts published on

this date in 2014, 2021, and 2023

 

 

Sometimes - especially those times when, like today, I can't think of anything else to write about - it's convenient to be able to look back and see what one was thinking on the same date in years gone by ...

 

In Praise of the Pig

 

The interesting thing about this post from 8 April 2014 is that it cost me a very dear friendship with an amazing woman called Beatrice de Dia, who found it to be Islamophobic, whereas it was, rather - as the title surely indicates - simply an expression of my porcophilia.   

 

And so, whilst the post did challenge the dietary injunction against eating pork found within Islamic (as well as Jewish) religious culture, it mostly celebrated pigs as intelligent, social, and loveable creatures who are, of course, genetically very similar to human beings, sharing as we do 98% of our DNA with them (which is why they represent the best hope for the xenotransplantation of organs in the future).

 

The post was also a reading of the view put forward by Christopher Hitchens; namely, that the reason heaven hates ham has nothing to do with food hygiene, but because eating pork uncomfortably reminded the ancient Semites of a time when human sacrifice and cannibalism were de rigueur. 

 

Finally, the post ended by calling on non-Jews and non-Muslims to also reconsider their own vile treatment of the pig and end the disgusting cruelty of factory farming. 

 

For if, on the one hand, pigs deserve better than to be vilified by those who allow religious superstition to distort their relationship to the animal world, then on the other hand, so too do they deserve more than being confined, separated from their young, and forced to live in their own filth before being slaughtered in their hundreds of millions each year by the Chinese, Americans, and Europeans. 

It's such a shame that Beatrice couldn't process the post - despite smiling at its mock-epic quality - and seemed to think I was encouraging racial and religious intolerance (even hatred). I'll always think of her very fondly (and still miss her terribly). 

 

 

Notes on An American Werewolf in London

 

Fast forward seven years, to 8 April 2021, and I was offering thoughts on An American Werewolf in London (dir. John Landis, 1981). 

 

Well, I say that, but actually the post was less a film review and more an excuse to sing the praises of two women who have secured their place in the hearts (and erotic imagination) of many a male viewer: Jenny Agutter and Linzi Drew. 

 

The former, who plays Nurse Alex Price in the film, is still, in my view, one of the most beautiful English actresses ever to have graced the screen; whilst the latter, appearing as Brenda Bristols, may not quite have the same allure as Mary Millington, but she did have a successful (and varied) career in the UK sex industry during the 1980s, working as a stripper, model, and porn star.

 

One day, if I can ever see past the charms of the female stars, I must really get around to discussing the demonic Nazi stormtroopers that appear in a terrifying dream sequence that even the Chapman brothers would've been proud of and how the film is crucially tied to the question of Jewish identity and feelings of cultural estrangement ... 

 

 

In Memory of Two Dead Artists 

 

Was it really 14 years ago that Malcolm McLaren died, aged 64, and over 50 years ago that Picasso departed this life, aged 91? Apparently. 

 

As I noted in a post published last year on this date, McLaren may have acted with mock delight when told of the great Spanish painter's death, but he undoubtedly admired Picasso and was happy to pose by one of his works when being interviewed at the Guggenheim in 1984 for an episode of The South Bank Show. 

 

His friend from art school days, Fred Vermorel, wrote this in 2015:

 

"Considered as an artwork [...] McLaren's Sex Pistols was as seminal and resonant as Picasso's Guernica. Only this was a masterpiece made not of paint and canvas but of headlines and scandal, scams and factoids, rumour and fashion, slogans, fantasies and images and (I almost forgot) songs - all in a headlong scramble to auto-destruction."[1]     

 

I think that's not only a nice thing to say, but also very true.

 

 

Notes

 

[1] Fred Vermorel, 'Blowing Up the Bridges So There Is No Way Back', in Eyes for Blowing Up Bridges: Joining the Dots from the Situationist International to Malcolm McLaren (John Hansard Gallery, 2015). Quoted by Paul Gorman, The Life and Times of Malcolm McLaren (Constable, 2020), p. 292.