MY BLACK BOOK (81 to 85): "'the beau's songs re helen (not of troy)' poetry, Novel; inc "juddarwin .... " entitled poetry [both series whether or not textual used].


John T. walked into the bar, reached out to pull a stool to where he stood, and climbed onto it. He nodded to the barman, who brought him a jug and an empty glass.

You planning to drink all that yourself?

Before I leave the place.

You look like that killer fella! The speaker was wearing a dark blue jumper, jeans and sandals. His hair was long; he looked very much like Donavan.

Who you talking about, son? As though with a Johnny Cash voice.

That ‘Port Arthur’ fella: walked outdoors the other day, shooting at anybody. And what you talking strange for? –Your voice isn’t deep enough.

I wonder why he did it? –If he isn’t off his head, that is?

I think he should be, executed, by a firing squad.

Why not, simply, ‘torn to pieces’?

You seem always dressed the same sort of way: shirt, never buttoned or in your trousers: over a T-shirt, and flannel trousers and boots. I think you use your fingers as your comb.

That is, very well put. Now I’ve got the description of the protagonist through the direct speech of the antagonist. This, is a ‘character sketch’ write-up that we are now, living. It is a manner of writing. I have already described you as looking like Donavan. Therefore I pretended just now like we’d just met.

Yes, yes, I know, you always associate faces with famous people.

Well, my next of kin is the television set. All it does all day is gossip, about people: what they do and what they look like.

Your spectacles are square, but your eyes have not conformed yet.

Maybe because I am usually reading or doing crosswords at the same time, if I am not writing. Besides, I also have two radios on, at the same time. They are never off; only a bit louder, when I’m not home.

Is that supposed to be a way of avoiding being influenced by radio or television?

I don’t know. I find the radio disturbs me when I want to write. Then I discovered one day, that it didn’t. Very soon I noticed that while one radio does, two don’t disturb my concentration.

Is that a discovery? Something new, someone should write about. I hear the journals are full of reported observances?

I have one ready for the psychologists. I kept changing wearing my watch on my left hand to wearing it on my right hand, and vice versa. I wanted to be able to answer that I did not know which hand I wore my watch on.

Did you manage to not know which hand…

After a while I forgot which hand I had it on the previous day.

Another jug!

You legitimize my thirst. Talking, makes the beer taste better. That’s another thing; an extension: one or two people talking next to you in the pub is irritating to your reading; when it is crowded, that hum of voices, is almost silence.

What time is it?

John pulled up his left hand.

Is it on your other hand?

No.

John pulls out a travel alarm clock from his pocket. The clock, here, is on that little bit of wall, as you come out of the kitchen.

Yes. Of course, you work here. You’re the cleaner. You would know where everything is. What’s with this travel clock?

My wrists kept getting irritated. I kept scratching. The veins kept aching. Someone told me scratching was the reason why. I was cleaning when I first went to uni. They enjoyed a laugh at the uni. pub when I said I thought being a cleaner, I should do philosophy

Did you ever succeed in not knowing which hand you wore your watch on?

Ah! Yes. The next step: I wore the watch on the hand I did not feel the watch, on.

What happened?

It did happen. After a while, when I wanted to know the time, both my hands jerked upwards. I had to look to see which hand to pull up fully, to see the time.

Had a psychologist, then asked, which hand you wore your watch on, your honest answer would have been you did not know.

Even, more, interesting. He’d assume [thereby being ‘unscientific’] I was being peculiar; and, would be conceited in his certainty about my being ridiculous [without any empirical evidence as to my claim being ridiculous].

Until you explained your experiment?

Psychologists are like priests: they first decide whether they can believe in the source they are about to hear from.

“They have denied themselves so much to accept what they do believe, in faith, that henceforth their first communication is doubt. They are wives of Lot and doubting Thomases!” I remember you saying this before.

Is that why you use the silent initial, calling yourself ‘John T.’, instead of ‘Thomas’?

Suddenly both, David, and John T., burst out laughing.

Hey! If this is a story, who is the antagonist? I am not against you.

You are the other to the protagonist. The first other actor put on the stage was put there to help the first keep going; as the one who is talked to\ asking the questions. The true function must be being there to get the story going.

I think you’ll have to help me finish the jug, or I’ll have more to finish at closing time. By the way, where they do tear people to pieces, is in the way-out villages in Asia, like when you drive through and knock one of their kids over.

That’s uncivilized.

One of the definitions of ‘civilization’ is ‘townification’. If it’s: they’re taking the law into their own hands: all their livelihood is in their own hands. I’m sure they’d have done such to our Port Arthur hero, before he’d got away. I’ve formulated a way how you can lay out rules for owning guns in such a way that it will be pointless to destroy or ban guns.

I think we better leave that for another day.

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PULAU TIKUS CEMETRY
[“My Mother’s Talking” poems, TWO]

I stayed at length, there, where my mother was laid.

I had said something one day to her, something I even recall refusing to say sorry for.

Something my son so often said to me when he was young although he denies using the word.

Maybe recently it is true that he does not use the word.

But how can I be wrong about wrong done as I did it to her?

I stayed, at length, there, where my mother was buried.

My son remembers I think my saying I want to be buried where my mother is buried now, it being enough years, since she was buried there.

I know I’d disintegrate (revert to biochemicals), lie betwixt my mother, her forebear & the note I wrote saying: sorry!


HAIKU

one last leaf hangs there
the other branches are bare
is it a fig leaf?


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MY FATHER TALKING, POEMS: ONE.
The best flowers grow from the rays of my eyes looking at you busying yourself around the place.

The rays from my eyes, instead of that of the sun.

It pulls them up and leaves them to wilt and die.

There is no transcendence in them damn plants like those my eyes grow while looking at you

adjoined to my hands reaching out to you like love extending itself
from the heart through the eyes

agazed

raying love to you

petals and petals

and teardrops and palpitations

and minute continuously falling grains of sands counting memories
like seconds be the proper way of counting time

which better not think itself a clock needing rewinding.
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must have dexperienced too many misrealties

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{TAKE} REMEMBER ME TO MARY’S MOTHER!

because I am religious
do not make it prestigious
{hearing}
{the}
statements saying they do not
—each a convenient forgot
{of the words used}
of the meaning inside the words

I don’t believe I can just be.
I mean the what I’m feeling me,
{thinking too: not the body.}
There seems to be nobody else;
{Am}
that I’m alone when my eyes close.
{The eyes seeing the thinking me.}
Some eyes must see the thinking me.
It’s not if not: All’s for nothing!
{but complex\simple as another chance occurrence}
{but that then complex means (equals) simple}
but that ‘complex’ be that unit start

if all things begin from the simplest things
something complex can be that ‘simplest beginning’ at now’s more complicated stage
{unbragged about truth}

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postmodernism indulgement
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1
wring the most important ways that popular music can be used to subvert dominant social expressions of sexuality & the notes i took/ made 2004/5?

The most important ways that popular music can be subverted are probably in use now; are being, used; newer ways ever insinuating themselves. It is experiencing, difference, which subverts the dominant social expression of sexuality. Marcuse has ‘aesthetic’ with the “dual connotation of ‘pertaining to the senses’ and ‘pertaining to art’” [Marcuse. p. 32.] which he qualifies like ‘text’: “as including the visual arts as well as literature and music.” [Marcuse. p. 45.]. Through all our senses does popular music disperse its codes and meanings: recently, given the video revolution, excessively, visually.

The latest thinking of identity and subjectivity and reality, as perceived, returns to Heidegger’s: being always means becoming: there, therefore is no essence. Pop music’s constant performance state, relating to the perceptions of identities which undergo reidentification by re-opened codes and meanings of past construction that heterogeneously harmonize with present experientials.

To paraphrase Shuker [p. 269], in popular music sexuality refers to expressions of sexual identity through sexual activity, or the projection of sexual desire and attraction. It also refers to central human emotions, or drives, which have been an essential part of popular music, and the social processes whereby performers and their texts operate in the public arena. Popular music is also a site where sexual politics competes: performers are conceived objects, socially constructed as sexually or symbolically desirable.

“Here certain forms of subjectivity and identity are projected as ‘normal’, traditionally white, male sexuality” [Ibid.]. This constantly reinforced, central image of the dominant group, usually conjoins with data that he is heterosexual, has a well paid job, is educated, is confident that he knows the true value of things: others, by implication, having less.

Society is explained by the demarcations of economy, along Marxist terms. The image, however, imagines that Democracy, having talked-down the king, who claimed divine rights, they took their heterosexual, established selves and whiteness, as consequently filling the all things king, now, vacant, around them: our dominant male, heir to the remnant. Through Freud, Lacan declared the brain blank when we are born: meaning, among other things, the page is empty; everything is learnt, absorbed/rejected (maybe, even synthesized as Hegel’s philosophy; whatever synthesized, idiosyncratic; autodidactic). Lacan has the child gradually grasping the signification when his crying always gets a bottle of milk from his mother, no matter the reason for his crying. So Lacan’s signification concludes as does Hegel’s synthesis; each, as the third step, after two attempts.

Since all things are learned, the self-important dominant group: the hegemony of the subgroups; those marginalized; different; deviant, all act out their fabricated roles, based on what has been constructed by the codes and meanings in the learned language.
The dominant group sustains its status due to constantly re-presenting texts (images in popular music as well) with codes and meanings that keep them pedestalized. It is by invading that space; juxtaposing alternative texts with different, alternate codes/meanings, that will subvert dominant social expressions of sexuality.

This is nothing new. This is the reason behind limiting Elvis Presley to above the waist televised coverage. They censored alternate art (to use Marcuse’s term) from entering the living rooms of America. What they do allow is what is listed on the television programmes: everything open to censorship. When Bob Hope came to Perth in the 70s he said the shots with the bikini girls next to him will be cut from the American coverage of his Australian tour. Popular music is already pulsing with alternate renditions of differing sexualities.

“Early 50s male stars were ‘adored objects’, catering to both homosexual desire and female consumption (e.g. Elvis Presley). Later…homoerotic (e.g. Madonna, Morrisey of the Smiths, suede); androgyny (Bowie during the Ziggy period); the effeminate (the Cure), and asexuality (Boy George); bisexuality (Morrissey, Suede); and gay and lesbian (Freddie Mercury; k.d.lang). The application of such labels, their connotations, and their relationship to ‘real’ gay communities have been at times strongly contested”.

“(D)isco generally celebrates the pleasure of the body and physicality, and is linked to the gay community and specific club scenes; heavy metal has traditionally been associated with overt masculinity…as have some forms of rock (hard rock/ cock rock).”

“(T)he lyrics…deal with heterosexual love, desire, longing, and lust;…with other sexual orientations and sexual practices, such as the Kinks’ ‘Lola”. Some…an ironic ‘in joke’…like The Village People’s ‘In The Navy” and ‘YMCA’. Some openly support or express solidarity with particular sexualities, for instance Tom Robinson’s ‘Glad to be Gay’. Other musical texts criticize non-heterosexuality or openly express homophobic or misogynist views (…rap).”
-[Shuker. p.270]

Shuker says there is disagreement whether “these texts are ‘read’… in any straightforward manner, or whether the artists’ intended or preferred readings, embedded in the text, are acknowledged, let alone assimilated into individual and social values and meaning.” [Ibid.] They will say that those who do not are not interested. But, I am. I stopped watching MTV \ RAGE, because I am listening to other TV, radio offerings. I have three going at a time. This is a new way of silence. Three outputs of sound do not interrupt you doing anything. Probably because plural sounds become heterogeneous, just like the full noise of a pub becomes nothing more than a hum.
The TV is always on, while I am in the flat, as well. Therefore, it is just that I am watching something else. I turned away from MTV then, because the sound was unequal to the presentation: I had predicted when it first came on TV that some music will succeed because it looked good. I cursorily read when I watch TV. With MTV,
I found myself finding less and less reason for looking up: my ears telling me when, often having more reasons to increase the volume of the radio.

Sexuality, “it involves the consideration of spectatorship and the (gendered) gaze (…) sexual ambiguity is central…which has frequently subverted the dominant sexuality constructed round male-female binaries. Discussion has concentrated on exploring the relationship between sexual orientation, public personas, and a performer’s music. Some performers openly represent or subvert and ‘play with’ a range of sexualities. Others constitute themselves, at times very self-consciously, as objects of homosexual desire, or as icons for different (‘deviant’) sexualities and their constituencies. [Shuker. p.269].

“I wanted people to see…my life…one step further than that is the movie’s (…) Because you will never know the real me. Ever.” [Kaplan. p. 149.]. With this, Kaplan recognizes a ‘split’ which ‘Madonna assumes’ existent between herself, subject, and ‘the external presentation of “Madonna”’. As far as identity goes, Madonna distinguishes between ‘people’\‘fans’ and, ‘you’\‘critics’, by the interviewer, personified. Kaplan, instead, lumps us, the fans, together in “her fans, her critics, her various audiences”, as though we, collectively, and not just the media, are challenged as ‘not to be initiated’. Madonna’s message to the ‘people’ was what you see is not me: there is even more of me! The media is singled out because they cheat-try to steal the answers to the questions Madonna’s masks throw to the people: like the riddles Samson asked the Philistines to entertain the wedding guests. The media attempts trick Madonna to inform against her masks like the Philistines did trick Samson’s bride to steal the answer from him. She is Samson, as well. The media want to spoil it all by providing who dunnit(s); exam answers; punch lines…

Queer Theory works the same way as, if not for the same reason, as Modanna, whose entertaining antics subvert, without subversion, necessarily, the intention.

Madonna’s two subversions:

“resisting a patriarchal ‘feminine’–as offering alternative female identification (the patriachal mask can be abandoned and the real woman step forth” [p. 150.].

“Madonna as problematizing the bourgeois illusion of ‘real’ individual gendered selves (there is nothing but masks)’ [p. 150.].

Truth or Dare: “earlier instances of supposed revelation…actually more cases of self construction – masks that functioned to pretend to reveal, as does the whole documentary [p. 150.].

Madonna fascinates because she is somewhere inside, behind all her masks, apparently; and, traditionally, # ‘The Lone Ranger’; ‘Batman’, ‘Superman’; masked balls, fancy-dress parties, the annual Halloween, so close to Thanksgiving Day, you wonder at their link (together[!] with the All Saints’ Day; All Souls’ Day follow-up, when the dead roam round America’s suburbia and had better be treated! right or risk some trick! plagued on them)… ‘Apparent’ mystery tickles the American psyche, somewhat. The President changes every four years, as regularly as does the moon; whole, only twelve time a year; not necessarily, not there, if not seen. Cher’s outfits; spectaculars, each
–(once, the role maybe mock-challenged by Whoopi Goldberg’s
expansive dress-up as an apparent ‘Queen Victoria’, while hosting the
Academy Awards: Goldberg later made a movie in which she hid behind
the white, male, heterosexual [apparently!] identity of a “‘George
Washington’-look-a-like” billionaire business-entrepreneur) –
one; they could fit a thick catalogue of photo fashions. Do they all express her? Apart from being the oldest pop star, statistically, to hit the ‘Top Ten’ of Billboard, having already been there a few times, Cher was the first association with ‘navel exposure’ (–exhibitionism?), long before it became a fashion statement. Cher was banned from TV appearances unless she covered her navel. Both Cher and Elvis Presley, apart from sharing extraordinary superstardom, both have an identity link with the Red Indians, which is as unblabbed about as Madonna’s real identity is a talking point: maybe, was. ‘OH LA LA’ that half-hour SBS-presented avant gard entrepreneur, experimental, report-of-fashion programme; interspersed with artists, writers…body-painters, sites selling beads, trinkets, foreign & exotic dress-up extras; the atmosphere as casual as a flea market: it was on that program one learned that the old LEVIs (the letters capitalized: unless my memory has the info. backwards) will till fetch $1000 (-then!), esp. from Japanese trendies: Madonna, pictured in the element of this programme, will notexhibit so much otherness. Madonna is best in her sensuous portrayals, especially with extra elements like blasphemy, linking herself almost immediately to one or two Blake poems, memory suddenly infusing re-presentation, summoning also Judith Wright’s Man and Woman, and the time one did succeed writing one’s own lines.

Given Madonna’s bite is at.
“the constraints of middle-American sexual mores and to the inhibitions and repressions involved, especially in relation to gay and lesbian sexual alternatives and to desires that emerge in sexual fantasies” [Kaplan. p. 163.].

k. d. lang’s treatment of Patsy Cline’s Three Cigarettes is a good example of how her known lesbianism puts in play many shifts of identity in the song. Bruzzi talks about the lesbian identity of lang bringing ‘queer’ to the narrative of Three Cigarettes: as opening the “‘space of possibility’ in … the collision between conventional and unconventional, fixed and fluid, straight and queer” [Bruzzi p. 194.]. Patsy Cline sings that they were both sitting at a table when a stranger came, and the two burning cigarettes in their ashtray now were three: it becomes a: she stole my sweetheart away, like ‘Sad Movies’ and ‘Little Sister’. I suddenly recall one with supreme tension, where the postulated ending, reverts, instead, and the narrator keeps the girl: ‘Running Scared’.

lang’s known lesbianism does change the picture in one’s imagination, from sex change to gender change to phantasmargorical possibilities, even as a natural process. Madonna also found herself progressing to “fantasies about bondage, group sex, and sadomasochism” [Kaplan. p. 162.] after beginning as a role model : “in her self-generating, self-promoting image, in her autonomy and independence, and deteremined creativity” [Ibid.].

The possibilities, given lang, lesbian: third person = steals; third person = straight; third person = vs girl plus girl in drag; third person = male homosexual, in drag; third person = male transvestite; third person = read Luke Rhinehart’s novel, ‘The Dice Man’; saw you, threw the dice; the number: ‘snake eyes’: he will have you; third person = someone who says up! all categories; ‘none! decide for me; shit! is all your fucking!-status-before-me-quo’ (similar, maybe, to ‘third wave’ postfeminist and queer theorists, although, anarchistically, including them; any! as: ‘ who cares how theys bits their apple!’ ); third person = vice squad: some mother’s do have ‘em: others of les Pandora’s Box. The “‘space of possibility’ in … the collision between conventional and unconventional, fixed and fluid, straight and queer”, allows other things to walk in: choiceless; once one exhales, geographically limited, is what is inhaled.
“Differance is the systemic play of differences, of the traces of differences, of the spacing by which elements are related to each other (…) the unbounded play of difference in this order of things tends to dissolve restraints to sadism and barbarism, giving desire and capital free rein in the fluid play of market signifiers.” [Amiran. p.101.].

When lang came out she mentions she managed, that way to “lose some of its cryptic mysticism” [Kaplan. p.203.], which also stands describing uninvited ‘differance’ (different, definably, by not accepting the difference as having its counterpart in masculinity [Gamble. p. 216] ) i.e. at least, all things Madonna later progressed to, the door still ajar. she underwent apparent reversion from the open possibilities re her previous image

When I read Kaplan and Bruzzi and Frith, I read what I had predicted, here written with a prejudice tolerable only from the dominant group, who have a reason. Queer Theory is very close to my way of thinking. “Foucault’s regulatory notions of sexuality do not only refer to heterosexual culture, but can also encompass gay conservative desires for normativity.” [Phoca… p. 104.]. Essentially, Queer Theory rejects the sexual categories described as Foucault’s regulatory notions, which Foucault, before them, did; therefore so displaying them hanging out as dirty washing. Queer Theory, however is like being reminded that air keeps coming from somewhere else, despite the amount we re-inhale due to proximity. “(B)oth men and women…” [Gamble. p. 56.]. Life is seething: we should regularly treat perception like the other intimate clothing needing washing. Butler says “all sexual identities are performed”. Not only therefore do popular music performances allegorize identity formation, they also begin to assume the effects of pantomime and psycho drama.

“Queer sexuality expresses a desire for polymorphous sexual configurations and fantasies which do not stem from a need to regulate, control and organize the sexual subject according to compulsory identification. [Phoca… p. 105.].

An exi stential, expeiential-‘now’: now past.

therefacts
(she uses ‘lesbian’, as though the demarcations be different, were the personas men)

“Western culture’s investment in the construct of the ‘individual’ and a split between inner and outer selves…” [p.150.].

rock and sexuality “originally a synonym for sex…cause of moral panic…knowing that rock is…knowing how rock is important” [p. 371.].

“Sheila Rowbotham’s… ‘like a great release after all those super-consolation ballads’” [p. 372.].

“necessary to use sounds, structures, and styles that cannot be heard as rock…form…content…effect of male domination on rock’s formal qualities as a mode of sexual expression” [p. 372].

“female musicians have rarely been able to make their own musical versions of the oppositional rebellious hard edges that male rock can embody.” [p. 377.].

“sexual outrage became an aspect of rock’s mass appeal” [p. 377.].

“ABBA provides the clearest example of the sexual divisions of labour” [p. 377.]. ABBA’s return with revenge cannot be tied to Rave music’s current capital of feel good music, but it cannot be denied that Rave’s feel good music welcomes the joyous strains of ABBA’s music: its Australian success more a matter f its Seekers, New Seekers, follow-up. The divisions of labour appraisal depends on what is compared to what. If the girls do the singing and the boys play, control, the music, this equals the girls to Cliff Richard, Elvis Presley, The Platters…who front the audience on stage, singing: the band, behind, sometimes not even seen; often left dangling as the singers go solo. Mike Jagger sings out in front of the Stones: if he wrote lyrics, the format would not differ, if he did not. What does differ is the self-consciousness, given the unforgettable Michael-Jackson performance. Even white groups want to display a choreographed performance identity: unashamedly unwhite; producing nothing counterpart. Not that the black groups do much more than go through some display as though to register themselves black, then sing like theys a using different words, now. Such was the case with the black groups of 50s rock and roll, followed by the whites. Too many the same; I grew bored looking through that rock ‘n roll book of groups, then, having to sit quiet on the sofa. Little Richard stood out because he looked presumptuous, mad; less boring, selling the goods. With Johnny O’Keef, it was because he looked ridiculous in the unbelievability of his performance; it was his effrontery, leading the reluctant, admiring uninhibited self in performance. Elvis Presley succeeded because his voice and performance was unique. You did not feel wary or embarrassed. Even now when Peter Waltham, again, puts him on Curtin Radio the voice clears the air as though of prior performances’ sound waves lacked authenticity, somehow. Elvis’ voice is clear; when he raises his voice, he does not shriek like he’s not up to it; he does not sing his soft sounds as though anemic.

Before Michael Jackson the movement used to be evaluated as instinctive, individual, charismatic. One had heard Mike Jagger’s stage performance was preferred to The Beatles, whose performance was still describable as just a more dynamic rendition of an arrangement started by the Shadows. Their lead-\base-\rhythm- guitars; and drums, was the general format for pop groups until other instruments were added: tambourine, keyboard, sita (later: didjerrido), jazz instruments: different cultures introducing, identifying informing their sites with diferent musics and languages.

“teenage girls have little choice but to interpret their sexual feelings in terms of romance–few alternative readings are available” [p. 380.].

“no other entertainers flaunt their sexualities at an audience as obviously as rock peformers” [p. 382.].

compare Dylan vs Marley use of “supporting women singers” [p. 384.].

“It was against this bland show business background that rock was and is, experienced as sexually startling.” [p. 387(8).].

“What would nonsexist music sound like? Can rock be nonsexist? How can we counter rock’s dominant sexual messages?” [p. 388.].

“The sexual meaning of rock can’t be read off independently of the sexual meaning of rock consumption, and the sexual meaning of rock consumption derives from the capitalist organization of production.” [p. 389.].

Marcuse, talking about the ways of change, cites the 60s, mentions spontaneity, anarchism, “a new sensibility against domination” [p.91.].

The men will have incentives to do things; they will be built into their “instinctual structure” [p.93].

“demand a new language to define and communicate the new ‘values’ (…which includes words, images, gestures, tones).” [p. 39-40.].

“a revolution…developing qualitatively different…may perhaps be indicated by the development of a different language” [p. 40.].

“The surrealist thesis, according to which, the poet is the total nonconformist, finds in the poetic language the semantic elements of the revolution.” [p. 40.].

“Today…more radical…amounts to a methodical reversal of meaning (…) subcultural groups develop their own language, taking the harmless words… out of context…: ‘trip’, ‘grass’, ‘pot’, ‘acid’…” [p. 41].

“language of black militants(…) ‘take over’ some of the most sublime and sublimated concepts…desublimate them, and redefine them” [p. 42.].

“soul (…) has been desublimated and in this transubstantiation mitigated to the Negro culture…” [p. 42.].

“soul…its essence lily-white ever since Plato…everything that is truly human in man, tender, deep, immortal” [p. 42.].

“they are soul brothers; the soul is black, violent, orgiastic; it is no
longer in Beethovan, Shubert, in the blues, in jazz, in rock ‘n roll, in ‘soul food’…Similarly…‘black is beautiful’ redefinesanother central concept of he traditional culture by reversing its symbolic value and associating it with the anti-colour of darkness, tabooed magic, the uncanny.” [p. 42-3.].

“The ingression of the aesthetic into the political appears…against…affluent capitalism among the nonconformist youth (…) the reversal of meaning, driven to the point of open contradiction: giving flowers to the police, ‘flower power’ – the redefinition and very negation of the sense of ‘power’; the erotic belligerency in the songs of protest; the sensuousness of long hair, of the body unsoiled by plastic cleanliness.” [p. 43.].

“want to see, hear, feel new things in a new way: they link liberation with the dissolution of ordinary and orderly perception” [p. 43.].

“if ‘pot’ was ‘an artificial and short-lived dissolution…the artificial and ‘private’ liberation anticipates, in a distorted manner, an exigency of the social liberation; the revolution…at the same time…in perception…creating the new aesthetic…” [p. 43-44.].

“these are not merely new mode of perception reorienting and intensifying the old ones; they rather dissolve the very structure of perception in order to make room” [p. 45.].
The most important ways that popular music can be used to subvert dominant social expressions of sexuality is by organizing the data to show the active word in the phrase dominant sexuality , to be ‘dominant’, to illustrate ‘burley’; the ‘audience’; them on the side lines ‘not in the game’; ‘the masses’; the ‘dominant forces fighting the war’ instead of the few on top, few of which involved ready to agree to have peace next week: the dominant group includes a major hegemonic sector, apparently, the lion’s share: after that come the marginal, the subgroups, plus those choosing the treks less tracked.
The problem in the southern states of the US was that the whites were trod on, pushed down so low by wholesale looting, bureaucratic and un-, post- a civil war fought to tells them ‘bout equality: they weres showed if not told they weres black: it is the cornered rat that suddenly blows huge in abomination, is pugnacious, has to go through that Lady Macbeth constant bath of dissociation. Symbolically, the major, hegemonic sector of the dominant group has just been described. Therefore the active, loud, chosen\declared choice to kiss the boots quashing them, instead; their backs hard in demarcation against marginal, subcultural, deviant, ethnic, other. They are equal to being a fifth column, better\than\police socially constructed controlling element from\of the dominant group, successfully working.

It is no grand, thought-out, noble outpouring of sudden enlightenment, accounting for sexuality declared as ‘normal’. Given the human being, it would have to be something stupid, laughable: a constant joke thrown in the face. –Like: when the first twins were born, and what he declared the reason: his brand of virility: then, his constant attention (my persistency is exclusively vaginal!). Those complaining nonproductive returns would have been told that it took my fathers’ dedication to bring success in my generation: this, terribly accentuated by my close relative having twins as well. One can easily foretell the cult, meeting, sharing declarations: more and more often, some solemn rhetoric easily bid utterance, actually containing negation metaphorically personifying all the sex they had given up. Such may be the ones who initiated the operation changing what was, open to sensitivity, adjectivally salubrious, into little more than alternate penetration. People still suffer periods of fasting for rewards as dubiously profitable as though actually wanting another mouth to feed. Such would have to declare others, abnormal. Thinking mythologically is like thinking from the seething, quick, pulsating-very-symbols whence life’s meaning derived: atomistic, sheer physics, unsensorial (spriritual?); they hover in the state of becoming, dancing, we cannot tune in to that music, but we can hear the music transmitted there, making the kaleidoscopic pattern into an also hovering-becoming of identities. …

“atomozing thought engenders the free play of desire, signifiers, and capital which characterizes postmodernism” [Amiran… p. 102.]

“atomising thought” [Amiran… p. 102.]

“Lefebvre questions ‘the multiplicity of those descriptions and sectionings’ (1991:8)” [Amiran… p. 102.]

“Jameson’s… ‘the cultural logic of late capitalism’ (1984)” [Amiran… p. 102.]

“The deconstructing moment of postmodernism molecularises the complex
(…) culture is endered into a particle form amenable to numericisation, and, through the device of probability, the random number machine orchestrates difference.” [Amiran… p. 102.]

“The postmodern order of things assumes its own legitimacy…the quasi-transcendental projection of an idealized world view.” [Amiran… p. 102.]

a reconstruction built from the atoms, bricks, taken from a previous building, brick by brick?

Inexplicably “instates a new mysticism and a new form of pleasure-seeking acted through the unrestrained dance of capital and desire in the social” “which is implicitly conceptualized in terms of atomized , deconstructed elements which constitute a neo-
positivist play of particles and desire.” [Amiran… p. 102.]

“The patterns revealed in sketching out these circuits of desire also reveal the turbulent and fateful grounding of a survivalist neo-conservatism which grows within and in reaction to the arbitrariness of the postmodern order of things” [Amiran… p. 102.]

The symbols from which culture took its meanings are then reduced to their atoms, hovering; seething; quick, and open to, equally contagious to compass directions.

Each declaration invites its binary, counterpart, challenge,

“‘compelled immersion in an all-encompassing world of signifiers’ (Harland, 1987)” [Amiran… p. 104.] It is cyclic.

Identity itself psycho-drama projects itself into performance faces like ancient Greek masks, demarcating categorizing realities, plurally: pluralism it being, this particularization that cites, summoning the image adjectival to the performance as this one now o’clock. This is Madonna’s they’ll never see the real me, dramatized? That we like whom we like is a mask, our masked identity through the plastic or papermash of our culture a-trend, now, existential to the tick! because we is now: were we then our rhythm would – says popular music – ticked! with Frank Sinatra; Gracie Fields.

Lyotard longs “for an epistemological fluidity which underpins the postmodern science of language,” its “‘ revolution of relativity and…quantum theory remains to be made’ (1988:137)” [Amiran… p. 105.]

“Foucault’s (1972) fluid positivity” [Amiran… p. 105.]

“Postmodern reason rides quantum logic into culture; the confluence of Nietzschean desire, Capital, and quantum logic constitute the repressed conceptual field for the postmodern play of signifiers.” [Amiran… p. 105.]

“rationality turns back on itself, breaking into pure desire as flows and clashes of particles…desire has been split and projected out into the ‘plateau’…Gregory Batesons’s continuous regions of intensity constituted in such a way that they do not allow themselves to build into a climax.” [Amiran… p. 106.]

Gender studies has this “plateau”, succeeding to other plateaus, describing ‘feminine’ pleasure, which does not halt as does the masculine ejaculation. It claims all nineteenth, twentieth century music has a climax, therefore, male ending. Anything from a Tchiakovsky 1812 Overture cannon-fire end, to a jazz drum-solo ending with rapid crescendos and urgent, more heterogeneous than harmonious drum and metal sounds on bits, spreads, of metal, skin: the overstatement suggesting orgasm, instead of exuberance. This, as though the nonstop all-night feel good sounds of Rave personify the feminine in music: at least the length of Ravel’s Bolero, maybe; used in that Dudley Moore movie to suggest something continuous in that sex or prolonged fantasy.

Is the girl who stops at ejaculation during oral sex then, masculine: the fella who wishes to proceed, something feminine?

know your allotment

ultimately my definitiom of the poem [Fuery… p.109.]

this is not the living now haunting the dead 3

“not so much clarifying as immersing in the problems of representation [Fuery… p.110.]

aesthetically billboard images foregrounds

Jameison Capital is post industrial, multinational cap. [Fuery… p.111.] vs latest cultural capital

“rules of what will have been done” Lyotard [Fuery… p.110.]

BOOKS REFERRED TO:

AMIRAN, A. and UNSWORTH, J. eds.: essays in postmodern culture. Oxford
University Press. 1994

FEURY, P and MANSFIELD, N: Cultural Studies and Critical Theory. Oxford
University Press. Australia. 2000.

GAMBLE, S ed.: THE ICON CRITICAL DICTIONARY OF FEMINISM AND
POSTFEMINISM. Icon Books Ltd. Allen & Unwin. Pty. Ltd.
NSW. Australia. 1999.

MARCUSE,H: An Essay on Liberation. Penguin Books. Victoria,
Australia. 1973.

PHOCA, S and WRIGHT, R: Postfeminism. Allen & Unwin Pty Ltd. NSW. Australia.
1999.

SHUKER, R: Key Concepts in Popular Music. Routledge. London
and New York. 1998.

PAPERS READ:

Stella Bruzzi ‘Manish Girl: k.d. lang – from Cowpunk to Androgyny’ in Sheila
Whiteley Sexing the Groove

Simon Frith and Angela McRobbie ‘Rock and Sexuality’ in Simon
Frith and Andrew Goodwin On
Record

E. Ann Kaplan ‘Madonna Politics: Perversion, repression, or
Subversion? Or Masks and/as Master-y’ from Cathy
Schwichtenberg ed. The Madonna Collection.

MY BLACK BOOK (81 to 85): "'the beau's songs re helen (not of troy)' poetry, Novel; inc "juddarwin .... " entitled poetry [both series whether or not textual used].

juddarwin

Joined June 2009

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