Category Archives: hedonism

“Disco Sucks” @30

On this day 30 years ago in 1979, Disco Demolition Night heralded the last days of disco.

Disco started in small nightclubs in American urban centers in the early seventies with imported records such as “Soul Makossa.” During the 1970s disco steadily increased in popularity reaching a high point with Saturday Night Fever in 1977.

This was followed with a homophobic, racist backlash two years later when rock music fans started to consider disco culture — with its perceived drug-fuelled sexual promiscuity — silly and effeminate, and objected to the idea of centering music around an electronic drum beat and synthesizers instead of live performers.

Another (more masculine) subculture, punk music, arrived on the scene.

Parodies of disco music became common. The backlash was epitomized in Chicago by the riotous Disco Demolition Night.

Nile Rodgers, guitarist for the popular disco era group Chic said “It felt to us like Nazi book-burning, This is America, the home of jazz and rock and people were now afraid even to say the word ‘disco’.”

There was never a focused backlash against disco in Europe.

Now, for the first time on this blog: local news coverage of this Dionysian moment.

[Youtube=http://www.youtube.com/watch?v=MpQfCcsqQ0E]

RIP Peter “Carry On” Rogers (1914 – 2009)

RIP Peter Rogers (1914 – 2009)

Carry On… Up the Khyber

Peter Rogers (20 February 1914 – 14 April 2009) was a British film producer. Rogers is best-known as producer of the Carry On series of British sex comedy films, beginning with Carry On Sergeant in 1958.

[Youtube=http://www.youtube.com/watch?v=lkqHI3-KXCs&]

“It sounds bizar but the Carry On films are as much part of the sixties as Pink Floyd” (documentary by the BBC, 2007).

The Carry On films were a long-running series of British low-budget comedy films, directed by Gerald Thomas and produced by Peter Rogers. An energetic mix of parody, farce, slapstick and double entendres, they are seen as classic examples of the low end of British humour in the British comic tradition of the music hall and seaside postcards, best documented in Keeping the British End Up: Four Decades of Saucy Cinema by Simon Sheridan.

Icon of Erotic Art #44

Femme damnée

Icon of Erotic Art #44 is Femme damnée a painting by Octave Tassaert, or more accurately, ascribed to Tassaert.

Its title, Femmes damnées is also the title of at least two poems by Baudelaire, one from the collection Les Fleurs du mal and the other from Les Épaves. The subject matter of Femmes damnées (« À la pâle clarté ») is the forbidden love which is lesbian in nature. Its subtitle is Delphine and Hippolyte.

It is also the title of a 1885 sculpture by Rodin and a 1897 painting by Carlos Schwabe.

Carlo Jacono @80 and Italian exploitation

An Italian translation of Malory by American author James Hadley Chase

Cover design by Carlo Jacono

Carlo Jacono (March 17, 1929 – June 7, 2000) was an Italian illustrator detective novel covers and regular contributor to Mondadori’s gialli and Urania magazine.

A digression into Italian exploitation.

My interest in regional exploitation or pulp culture is that what it tells about the region where it is produced. I am searching for national stereotypes by way of their exploitation culture; regional stereotypes deduced from regional fears and desires (horror and eroticism).

Italian exploitation culture is literature and films in the “low culture” tradition originating from Italy, cultural products which address the prurient interests of its audience. A quick glance at Italian society on the one hand, which its firm anchor in puritan Christianity, and its abundance on the other hand of graphic exploitation material, quickly reveals its double standards.

In print culture there has been giallo fiction, quickly followed by adult comics, the so-called fumetti neri.

But the nature of Italian prurience is most readily revealed in Italian cinema. Genres such as cannibal films, Italian erotica, Italian horror films, giallo films, mondo films, il sexy, spaghetti westerns, sword and sandal films all went a tad further than contemporary products of European exploitation.

Had it not for the world wide web, these maligned genres would probably not have been so widely known, but if you prefer reading books to the internet, here is a list of publications on European exploitation you may enjoy.

Salute to Bacchus

Today is the feast of the Roman god Bacchus, known by the Greeks as the Greek god Dionysus. In my hometown Sint Niklaas, there used to be a bar called Bacchus. That was in the late seventies and early eighties.

I had to wait until the 1990s and the first issue of Wired Magazine to be properly introduced to Bacchus via Camille Paglia’s interview on her recently published Sexual Personae in which Paglia mentions the Nietzschean dichotomy of Apollonian and Dionysian.

Popular perceptions of Dionysus and Bacchus

Dionysus was seen as the god of everything uncivilized, of the innate wildness of humanity that the Athenians had tried to control. The Dionysia was probably a time to let out their inhibitions through highly emotional tragedies or irreverent comedies. During the pompe there was also an element of role-reversal – lower-class citizens could mock and jeer the upper classes, or women could insult their male relatives. This was known as aischrologia – αἰσχρολογία or tothasmos, a concept also found in the Eleusinian Mysteries.

Bacchus is less wel documented in text, but all the better in painting (Leonardo, Michelangelo, and Caravaggio). His name is connected with bacchanalia, a term in moderate usage today to indicate any drunken feast; drunken revels; as well as binges and orgies, whether literally or figuratively.

Rubens

Bacchanalia

The bacchanalia were wild and mystic festivals of the Roman and Greek god Bacchus. Introduced into Rome from lower Italy by way of Etruria (c. 200 BC), the bacchanalia were originally held in secret and only attended by women.

Bacchanalia by Auguste (Maurice François Giuslain) Léveque

The festivals occurred on three days of the year in a grove near the Aventine Hill, on March 16 and March 17. Later, admission to the rites was extended to men and celebrations took place five times a month. According to Livy, the extension happened in an era when the leader of the Bacchus cult was Paculla Annia.

Cornelis de Vos

Paculla Annia

Paculla Annia was a priestess from the southern Italy who, according to Livy, largely changed the rules of Bacchanalias so that regarding nothing as impious or forbidden became the very sum of Bacchus‘ cult. In the rites, men were said to have shrieked out prophecies in an altered state of consciousness with frenzied bodily convulsions. Women, dressed as Bacchantes, with hair dishevelled, would run down to the Tiber with burning torches, plunge them into the water, and take them out again. The rites gradually turned into sexual orgies, particularly among the men, and men who refused to take part were sacrificed. It is said these men were fastened to a machine and taken to hidden caves, where it was claimed they were kidnapped by the gods.

Prohibition by the Roman Senate

The festivities were reported to the Roman Senate which authorized a full investigation. In 186 BC, the Senate passed a strict law (the Senatus consultum de Bacchanalibus) prohibiting the Bacchanalia except under specific circumstances which required the approval of the Senate. Violators were to be executed.

RIP Lux Interior (1946 – 2009)

Lux Interior (1946 – 2009) of the Cramps died yesterday.

[Youtube=http://www.youtube.com/watch?v=owF1iSVi8KA]

“Human Fly“

The encyclopedic stuff:

The Cramps are a punk rock band originally formed in 1972. Their line-up has rotated much over the years, with Lux Interior and Poison Ivy, the lead singer and lead guitarist respectively as the only permanent members. They were part of the early CBGBs punk rock movement that had emerged in New York and are best-known for their song “Human Fly“.

Their music is mostly in blues form, played at varying, (though usually fast) tempos, with a very minimal drumkit. An integral part of the early Cramps sound is dual guitars, without a bassist. The content of their songs and image is sleaze, trashy Americana (much in the style of filmmaker John Waters), sexual fetishism, clever bad jokes, and cheap, horror B-movie clichés.

Their sound was heavily influenced by early rockabilly and proto-rock’n’roll like Link Wray and Hasil Adkins, 1960s surf music acts such as The Ventures and Dick Dale, 1960s garage rock artists like The Standells, The Gants and The Sonics, as well as the post-glam/early punk scene from which they emerged. They also were influenced to a degree by The Ramones and Screamin’ Jay Hawkins, who is often credited for having pioneered their style of theatrical horror-blues. Their influences and/or the songs they covered were compiled in the vinyl album series Born Bad.

In turn, they have strongly influenced subsequent punk and rockabilly revival bands, even creating a genre in their wake. “Psychobilly,” a style played by bands like The Meteors and the Sharks, is a term^† coined by the Cramps, although Lux Interior maintains that the term does not describe their own style. The Cramps also influenced or anticipated acts like The White Stripes, The Gun Club, The Fuzztones, James Chance and the Contortions and The Birthday Party.

The personal stuff:

I can’t really remember my first exposure to The Cramps, but I was hooked when they first came within earshot. The first song must have been “Human Fly“, which tapped straight into my veins. I bought most of their albums up until the early nineties, I believe the last one was Smell of Female which I played over and over. Phrases such as “This is to all you Gucci bag carriers out there” can be reproduced from memory.

The phrase is from “You Got Good Taste.”

[Youtube=http://www.youtube.com/watch?v=nYiGxfOL5eo]

Of course, my interest coincided with the then garage rock revival of the eighties. My best memories of The Cramps are bying their originals on the Born Bad series.

“To understand bad taste one must have very good taste” –John Waters

The clearly Betty Page/Irving Klaw-inspired sleeves could have been a lot better but the music opened up to a whole world of musical misfits and one-hit wonders, of which the following “Goo Goo Muck” is an excellent example.

[Youtube=http://www.youtube.com/watch?v=sj24CBT2NSE]

“Goo Goo Muck” (the music doesn’t start until :59)

Farewell Lux!

Introducing Alcide Bonneau ( 1836 – 1904)

Alcide Bonneau (Orléans, 1836, Paris, 1904) was a French intellectual, philologist, literary critic and translator of erotica and curiosa. He is also the author of Padlocks and Girdles of Chastity. In 1887, he collected a number of these essays and published them as Curiosa: essais critiques de littérature ancienne ignorée ou mal connue, it is said that the later bookselling category curiosa thanks its coinage to this collection.

La Cazzaria by Antonio Vignali (a Latin novel by Antonio Vignale, written in the mid 1520s, first published in Napels in the 1530s. It was translated by Alcide Bonneau into French and as The Love Academy by Rudolph Schleifer (for Brandon House Library Editions)).

Alcide Bonneau followed in the footsteps of Antoine Galland and was a contemporary of British translator Richard Francis Burton.

Bonneau, like printer Isidore Liseux was an ex-priest, and they had known each other since seminary.

He was lexicographer at the Grand dictionnaire of Pierre Larousse (on Spanish and Italian literature), as well as the Nouveau Larousse illustré.

From 1876 to 1893, he was the principal collaborator of the editor Isidore Liseux (1835-1894), for whom he edited, translated and annotated some fifty works labelled as erotic or simply « curieux » : la On Civility in Children by Erasmus (1877); the Facetiae by Poggio Bracciolini (1878); the Raggionamenti by Aretino (1879-1880); the Dialogues de Luisa Sigea by Nicolas Chorier (1881); the Sonetti lussuriosi by Aretino (1882); the Apophoreta, or De Figuris Veneris, by German scholar Forberg, under the title Manuel d’érotologie classique (1882); La Cazzaria by Antonio Vignali (1882); Poésies complètes by Giorgio Baffo (1884); Raffaella by Piccolomini (1884); the Hecatelegium by Pacifico Massimi (1885); The Mandrake, a comedy by Machiavelli (1887); Portrait of Lozana: The Lusty Andalusian Woman by Delgado (1887); Hermaphroditus by Beccadelli (1892); etc. All translations were annotated, often running longer that the actual text.

Bettie Page (1923 – 2008)

Bettie Page, Bizarre nr. 14

If your interest goes just a little bit beyond vanilla sex, you’ve probably come across Bettie Page.

Bettie Page (April 22, 1923 – December 11, 2008) was an American model who became famous in the 1950s for her fetish modeling and pin-up photos, taken by Irving Klaw.

[Youtube=http://www.youtube.com/watch?v=j0Ynlp7sxZs]

American 2000s documentary

[Youtube=http://www.youtube.com/watch?v=ysclVAOLOd8&]

Bettie’s Punishment

The whole of her is Icon of Erotic Art #38.

Guy Bourdin @80

Charles Jourdan ad, 1976

French fashion and advertising photographer Guy Bourdin (1928 – 1991) would have celebrated his 80th birthday today had he not died of cancer 17 years ago.

I’m not sure when I first consciously came in to contact with his oeuvre, but I am pretty sure it was in the terra cognita that the internet has become by way of this page[1] from the site of music and culture connoisseur Phinn.

Today, a wide selection of his videos is available on YouTube[2]; a large number of his films can be found on Flickr and on the internet at large[3].

However, and although I cannot confirm this, I feel that I had seen the imagery of Bourdin in the pre-internet world, in a Dutch-language magazine called Avenue, which my parents bought during the seventies. It was The Netherlands’ and Flander’s first glossy, and ran from 1965 until 2002. Contributors have included Paul Huf, Eddy Posthuma de Boer, Ed van der Elsken and Inez van Lamsweerde. I distinctly seem to remember the Charles Jourdan shoe photo-ads Bourdin produced during that era. Not coincidentally, Avenue reminds me of that other glossy, Nova magazine, which I covered a couple of weeks ago[4].

To me, Bourdin can only be compared to his contemporary Helmut Newton (although admittedly I’ve also tentavily compared Ralph Gibson [5] to Bourdin) because in the words of Charlotte Cotton and Shelly Verthime he “emphasised fetishism, power relationships, and the potential for sexual violence, as well as the artificiality of the image, its gloss rather than its reality.”[6]

I’ve reported on Bourdin many times, and I am glad that I saw his retrospective at the Jeu de Paume in Paris and was given as a present Luc Sante‘s first monograph on his work: Exhibit A: Guy Bourdin

You can find Bourdin’s work all over the net.