Showing posts with label Byron. Show all posts
Showing posts with label Byron. Show all posts

Friday, 21 January 2011

Beer/Bear | Justification Of This Week's Theme | A Hist-Lit-Fic Epistolary Novel (in one part)


Dearest Mother,

Thank you for the candied fruits and better-than-average claret. We saw off both during one of the eternal parties we have here – y’know, those congregations of gamblers, boxers, authors, parsons and poets in B’s rooms that I was telling you about. The ones that begin with a kind of simultaneous braying, a sort of aristocratic music-making, debating baronets and trochees and nectarines, and end with us all bumming one another in a curious sequence that I’m told goes back 200 years. Be assured, good my mother: as a freshman, I was soundly bummed!

It’s lovely here at Trinity – dawdling in the bootsteps of Elizabeth’s Essex, Dryden, Newton, all the lads. B can afford to live on campus – en suite, for goodness’ sake. The man really is astonishingly affluent. Subject of which, you really mustn’t worry about my lodging in town. A beautiful boy with an unfortunate name, Scrope Davies (I shall bum him for sure!) came round with a pamphlet yesterday entitled Hints to Fresh-men at the University of Cambridge. I’ll include a paragraph to set your mind at rest:

Suspect danger from WOMEN; those women, I mean, who haunt the lanes, and ends, and corners of the town, who are Hebes at night, and Hecates in the morning. But for them, the once healthful HORATIO would not now be secluded from his friends, stung with disease, and stupefied with spleen.

I insist that you inform father that, like the good Westminster praefectus that I am, I shall not deviate from the path of intellectualised sodomy. I should mention that B is more of a cynic than I – I enclose a transcription of something he said at table the other day (I keep a pad with me at all times so that, as B’s notoriety begins to throb outside of Cambridge’s walls – as it surely will – I shall be known also, by association. For I am notoriety’s documenter! I am Louis Theroux! I’ve also begun to sketch little illustrations for B’s poesy. He doesn’t seem to mind. He wrote a filthy little thing called ‘To Mary’ all aquiver with ‘ecstatic postures’ and ‘dusky mantles’ and I designed a delicate pattern of tits and arses for him to use as a calligraphic border. Á la that engraver that went bananas in Soho. Brake? Bake?). Here it is:

This place is the Devil, or at least his principal residence. They call it the University, but any other appellation would have suited it much better, for Study is the last pursuit of the Society; the Master eats, drinks and sleeps, the Fellows drink, dispute and pun, the employments of the undergraduates you will probably conjecture without my description.

He, dear mother, would know! He has been spending an awful lot of time with Regius Professor of Greek Richard Porson, a genial cove whose translation of Aeschylus is quite extraordinary – almost as extraordinary, indeed, as the consistency with which he is likely to be found under a table in the Trinity beer cellar in the early hours of a weekday morning, bellowing the following to himself:

I went to Frankfurt, and got drunk
With that most learn’d professor, Brunck;
I went to Worms, and got more drunken
With that more learn’d professor, Ruhnken.

Which reminds me of why I began this missive in the first place, belovedest mater. An interesting dialectic, concerning Porson and B. And, I think, a justification for my choosing a life of letters despite father’s (if you won’t mind me saying so) rather provincial concerns (how is Bristol, incidentally? B and the chaps claim to have never heard of the place). For at the heart of this interesting thing is a single letter, the tiniest twist of an E into an A – the sort of thing a fellow who doesn’t know his Xenophontis Anabasin couldn’t possibly appreciate the significance of...

So this Porson character, he’s in the process of losing his fellowship, he’s refusing to take holy orders, he’s writing journalism, would you believe – the man is waning, mother, and he shall be spent before the year is out. And all because of the brews. Because of beer. This, mother, this double E of Porson’s is the Old Literature. Drunken translation of translation of translation and so on and so forth and, frankly, yawn.

Out with the Old and in with the New, I say.

And the New Literature’s name begins with a B. For get this, mama: some horrible little jobsworth told B that he wasn’t allowed to keep dogs in his rooms (I know, right?!) so he bought a bear. A fucking bear, mother, he installed a bear in his lodgings, on a leash, with a foxglove garland round its neck – a bear who dances with a tambourine whilst we sip brandy from each others clean, pink sphincters. A bear who shall surely form the centrepiece of all B’s future writings. A bear who shall inform all future writing, via B. Unless, of course, B's bear simply becomes another fragment of a fruitily literary biography that hinges on an intellectually irrelevant conception of poetic depravity that actively gets in the way of the man's actual, y'know, work, because of its titillating simplicity. But that's not going to happen, is it? I mean, people aren't idiots. Anyway, I shall never forget his announcement:

I have got a new friend, the finest in the world, a tame bear. You shall ask me what I mean to do with him. And my reply shall be that he should sit for a fellowship!

The age of BEER has become the age of BEAR and literature will change for ever, mother. It will be no accident, for example, that A.A. Milne will choose to study at Trinity. And it will be an astute blog that, 200 years down the line, appreciates the fact that the Beer/Bear moment is as valid a theme for a week of literary commentary as, say, the translation of the bible into English, or Heminges and Condell’s First Folio. Or something. Anyway, Benedic, Domine, nos et dona tua, quae de largitate tua sumus sumpturi, et concede, ut illis salubriter nutriti, tibi debitum obsequium praestare valeamus, per Christum Dominum nostrum and all that sort of thing,

Kisses,

John Hobhouse, your devoted son

Wednesday, 4 August 2010

Bees | Music | Blow Job Betty

Nick
Cave
’s Grinderman side-project has been universally described, alongside The Death of Bunny Munro, as the noises a mad-gifted man makes when he grows old disgracefully. And No Pussy Blues, the former’s best-known track (‘I thought I’d try another tack / I drank a litre of cognac / I threw her down upon her back / But she just laughed, and said she just didn’t want to…I got the no pussy blues’) not to mention the opening paragraphs of the latter’s third chapter (‘beached pussy prostrate beneath the erotically-shaped cumulus, loads of fucking girls are up for it, big ones, little ones, black ones, white ones, young ones, old ones, give-me-a-minute-and-I’ll-find-your-beauty-spot ones’) make it pretty bloody easy to see why.


Actually, Cave is growing old considerably less disgracefully than, I don’t know, Ronnie Wood, with his face like a smoker’s lung and his soggy phallus not even wedged between the thighs of a Kazakhstan-born teenager anymore. Cave is happily married to that lady off-of the front of the Roxy Music best-of. Cave has charming twin boys who play silly games with the Bad Seeds. The middle-aged Cave is, really, only as disgraceful as the sexual content in his work – by which token Craig Raine, Sebastian Faulks and innumerable other joylessly gentile writers can also be considered dirty old men.

Which does a disservice to dirty old men the world over, right? Cave only gets this shit because he has a beautiful moustache.

Anyway. What’s important here is that an important facet of Cave’s latter-day ‘disgracefulness’ is a casual misogyny that manifests, time and time again, in the phraseology he uses to address babes. And at least twice on the first Grinderman record, this means references to his ‘honey bee’. Harmless enough, until the context is thrown into the mix:

…She’s my honey bee and here she comes
Cancer rabies SARS
Hairy beards and hurtling stars
Won’t somebody touch me?
Won’t somebody touch me?
Honey bee lets fly to Mars
Buzzzzz buzzzz buzzzzz…

On second thoughts, maybe this song isn’t about a chick after all. But we’re too far in to worry about that. It being Bee Week, then, and what with my Silkworms column increasingly resembling a weekly celebration of Nick Cave, here be a Honey Bee Let’s Fly To Mars-inspired celebration of borderline-sexist slash reallyreallysexist approached to addressing women in poetry and music. Derek Walcott and his wandering hands would surely approve...


Pitchfork did such an unsurpassably good job of rinsing the first Louis XIV record (astonishingly, there was a second) penning it in the form of a conversation between singer Jason Hill and his doctor…

-Good morning, Mr. Hill.
-Doctor Bolend, what's going on man! It’s been too long, man.
-Long indeed, Mr. Hill.
-Almost as long as my dick!
-That’s nice, Mr. Hill. Looking at your file, I see it’s been three years since your last check-up. How have you been feeling?
-Better than ever man. I'm so healthy I can drink more than pregnant hookers in heat. I’m so ripped I can stick needles in my arms, then stick needles in my needles’ arms. I’ve fucked so many girls in the last five minutes that I’m gonna be orgasming straight through May. And don’t even get me started about how many girls I’ve fucked in the last five minutes.

…that I’m going to list some of the terms of feminine address in their biggest hit, Finding Out True Love Is Blind, and leave it at that:

‘Chocolate girl’
‘Your little Asian friend’
‘Carrot juice’
‘Your vanilla friend’
‘Miss little smart girl with your glasses and all your books’
‘Brown girl’

Und so weiter.

John Berryman’s Dream Song No. 4

Filling her compact & delicious body
with chicken paprika, she glanced at me
twice.
Fainting with interest, I hungered back
and only the fact of her husband & four other people
kept me from springing on her

or falling at her little feet and crying
‘You are the hottest one for years of night
Henry’s dazed eyes
have enjoyed, Brilliance.’ I advanced upon
(despairing) my spumoni. –Sir Bones: is stuffed,
de world, wif feeding girls.

–Black hair, complexion Latin, jewelled eyes
downcast…The slob beside her     feasts … What wonders is
she sitting on, over there?
The restaurant buzzes. She might as well be on Mars.
Where did it all go wrong? There ought to be a law against Henry.
–Mr Bones: there is.

The entire Mötley Crüe back-catalogue

The following are the lyrics to the Girls, Girls, Girls (1987) track All In The Name Of… I suspect the, turns out, criminally amoral Mötley Crüe could do and did do better than ‘honey bee’ but unfortunately I can’t bring myself to listen to their awful, awful songs:

She’s only fifteen
She’s the reason – the reason that I can't sleep
You say illegal
I say legal’s never been my scene
I try like hell but I'm out of control

All in the name of rock ‘n’ roll
For sex and sex I’d sell my soul

Pretty, pretty so innocent
She says you ain’t seen nothing yet
Brings me a dirty, dirty magazine
There she was for all the world to see
I try like hell but I’m out of control. All in the name of rock ‘n’ roll
For sex and sex I’d sell my soul

Says to me daddy
Can I have some candy
Wanna be your nasty
Anytime you want
You know you can have me

All in the name of rock ‘n’ roll
.

The entire Charles Bukowski back-catalogue

Extract from The Most Beautiful Woman In Town from 1983’s The Most Beautiful Woman In Town & Other yaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaawwwwn:

Cass was the youngest and most beautiful of 5 sisters. Cass was the most beautiful girl in town. 1/2 Indian with a supple and strange body, a snake-like and fiery body with eyes to go with it. Cass was fluid moving fire. She was like a spirit stuck into a form that would not hold her. Her hair was black and long and silken and whirled about as did her body. Her spirit was either very high or very low. There was no in between for Cass. Some said she was crazy. The dull ones said that. The dull ones would never understand Cass. To the men she was simply a sex machine and they didn't care whether she was crazy or not. And Cass danced and flirted, kissed the men, but except for an instance or two, when it came time to make it with Cass, Cass had somehow slipped away, eluded the men…

Lord Byron’s objectifications

As everybody knows, where literature was concerned, Byron was only in it for the snatch. She who Walks In Beauty, not to mention Lara and his Beautiful Quaker – that shit’s obvious. More interesting is the fact that when he’s talking about Newstead Abbey and The Vision Of Judgement, he’s almost certainly still thinking about the puss.

But all of these pale into insignificance when placed alongside the frankly extraordinary thing that is Too $hort’s Blow Job Betty. As one youtube commenter put it, ‘I love this dude. He’s the reason white women over 30 hate rap.’ Bukowski, you, sir, are a pussy compared to this guy (actually, LyricsFreak seems to suggest, shockingly, that the below is the work of five different hands…)

…Too $hort baby, I'm so hard
Pimpin' these hoes on the boulevard
But I'm not here to tell ya bout me
I got a little story bout a nasty freak
She's the kind of girl you think about in bed
Blowjob Betty givin' real good head
Bust a left nut, right nut in her jaw
Sperm on her cheeks is all ya saw
She could blow more head than a whale blows water
Blowjob Betty make your dick get harder
She's a one of a kind, a hell of a girl
A trip and a half around the world
Catch her gettin' busy, bitch wouldn't stop
She's the kind of girl that'll make your toes pop
Every time I used to see her, I would know what's up
Blowjob Betty better blow me up
I remember the day when I first met her
Bitch kinda loose so I knew I'd get her
Walked up to her said
"my name is $hort, just what
you've been lookin' for"
Pimp is my game, I do it the best
Hoe fuck with me, she don't get no rest
Well after that, I G'ed the freak
I used to stop by and fuck about twice a week
And from the very first time I went to her house
Walked in the door and stuck my dick in her mouth
$hort Dog'll get bitches anytime I wanna
Got a big dick and lay it right on her tonsils
Only stick it in about half way back
Cause if I put it all in, it bust straight through her neck…

The likes of the above examples, ladies and gentleman of the jury, testify to the fact that Colony Collapse Disorder constitutes the great ecological challenge of our time. A world without the honey bee would be a world without misogyny. To work, then!

Sam Kinchin-Smith
Music Editor

Thursday, 17 June 2010

Destruction | Music | Jared Leto Gets Twatted


So mutters Ed Norton at the close of what is probably late-teen-emo-osophy-fest Fight Club’s most infamous and intellectualised scene, Angel Face Gets Twatted (as one on-the-money Youtube user has christened it). Now, I haven’t sat down and watched Fight Club for quite some time – for reasons that I daresay the above five-part composite noun make pretty clear (goodness’ sake, Fightstar released a track called ‘Palahniuk’s Laughter’: I’m not just being contrary). But I can still appreciate why the glamourised fucking up of a beautiful, semi-feminised male face is kind of interesting, even when it’s accompanied by piss-poor pop-profoundness (“I felt like putting a bullet between the eyes of every panda that wouldn’t screw to save its species. I wanted to open the dump-valves on oil tankers and smother all the French beaches I’d never see.”) This recent piece by the mostly-excellent Penny Red, concerning itself with how often it is violence against women that is used as a shorthand shortcut to stylised edginess and iconoclasm, goes some way to pointing towards why that is. This isn’t bad either.

Not that I can be bothered to hover around questions of postmodernism and masculinity for the next couple hundred words. Rather, I’m much more interested in the following, and probably-no-less-scholarly conundrum that surely dominated director David Fincher’s mindset for at least a couple days: what would be the best/most somehow-gorgeous (gore-geous? Hahahahahahahahaha)/most shiny-stylish/most Fightstar-rad way to go about destroying Jared Leto’s excellent face? It’s a question (or a mild-variation on the question) that resulted in what is, very possibly, American Psycho’s best scene. And it’s a question that inspires today’s exercise in Music As Reading: think of some poems built out of an elegant symmetry, a versatile but unambiguous handsomeness to compare with that exhaled by the American Beauty of Jared Leto’s features. Then think of some music to destroy them. And juxtapose the two, as painfully as possible. Music As The Death Of Reading – I daresay it’s an idea that’s been floated before, probably in the Mail On Sunday or summat…

Oh, and I’m not just talking about Huey Lewis and the News… In 87, Huey released this, Fore, their most accomplished album. I think their undisputed masterpiece is ‘Hip to be Square’, a song so catchy most people probably don’t listen to the lyrics. But they should, because it’s not just about the pleasures of conformity, and the importance of trends, it’s also a personal statement about the band itself. Hey Paul! TRY GETTING A RESERVATION AS DORSIA NOW YOU FUCKING STUPID BASTARD! YOU! FUCKING! BASTARD!

Byron + Mayhem

Byron and Leto, or more specifically Byron’s verse and Leto’s face – it’s not too big a leap to make. Only, Leto’s face is, I think, a little simplistic, a little pretty-pretty, not enough sardonically lined with experience to group with George Gordon’s monster poems – we need a little briskly-metred lyric, I think. With just a bit of an edge, befitting Leto’s vaguely greebo credentials…

So, we’ll go no more a roving
So late into the night,
Though the heart be still as loving,
And the moon be still as bright.

For the sword outwears its sheath,
And the soul wears out the breast,
And the heart must pause to breathe,
And love itself have rest.

Though the night was made for loving,
And the day returns to soon,
Yet we’ll go no more a roving
By the light of the moon.

(1817)

HEY PAUL! Destroy with the help of Mayhem (the Norwegian black metal band what ate a stew brewed from their singer’s brain – that’s the singer who used to bury his clothes for weeks before wearing them, incidentally) and their masterpiece, ‘Rape Humanity With Pride.’ This one speaks for itself.

Hopkins + Burzum

Like Jared Leto’s features, Hopkins’ sonnets, particularly this one, combine extraordinarily perfect shape-symmetry with ‘outrides’ (Hopkins’ coinage), extra bits, distributed carefully to form uncannily beautiful patternings – just look at Leto’s fringe, his slightly too-round nose.

The Windhover, to Christ Our Lord

I caught this morning morning's minion, king-
      dom of daylight’s dauphin, dapple-dawn-drawn Falcon, in his riding
      Of the rolling level underneath him steady air, and striding
High there, how he rung upon the rein of a wimpling wing
In his ecstasy! then off, off forth on swing,
      As a skate's heel sweeps smooth on a bow-bend: the hurl and gliding
      Rebuffed the big wind. My heart in hiding
Stirred for a bird, – the achieve of, the mastery of the thing. 

Brute beauty and valour and act, oh, air, pride, plume, here
      Buckle! AND the fire that breaks from thee then, a billion
Times told lovelier, more dangerous, O my chevalier!
      No wonder of it: shéer plód makes plough down sillion
Shine, and blue-bleak embers, ah my dear,
      Fall, gall themselves, and gash gold-vermilion.

(1877)

HEY PAUL! Gerard Manley Hopkins bloody loved God and churches and so on – Varg Vikernes, the man behind one-man-band Burzum, burnt down several historically important Norwegian churches before murdering the Mayhem guitarist what made the aforementioned brain stew, ‘Euronymous’. Destroy this most exquisite of poems (barring that horrible ‘Stirred for a bird’ line) then, with the help of the just-under-ten-minutes-long ‘Snu Mikrokosmos Tegn’, a track no doubt constructed to headphone-accompany acts of ecclesiastical arson.

Isaac Rosenberg + David Banner

Look at that horrible t-shirt Leto’s wearing. And that Rooney-like rosary. And yet, with that Leto-face, that gaze, both become oddly beautiful, hypnotic. Isaac Rosenberg, to my mind the greatest of all the WW1 poets, achieved the same effect with a conflict that killed over 16 million people.

Break of Day in the Trenches

The darkness crumbles away 
It is the same old druid Time as ever, 
Only a live thing leaps my hand, 
A queer sardonic rat, 
As I pull the parapet's poppy
To stick behind my ear. 
Droll rat, they would shoot you if they knew 
Your cosmopolitan sympathies, 
Now you have touched this English hand 
You will do the same to a German
Soon, no doubt, if it be your pleasure 
To cross the sleeping green between. 
It seems you inwardly grin as you pass 
Strong eyes, fine limbs, haughty athletes, 
Less chanced than you for life,
Bonds to the whims of murder, 
Sprawled in the bowels of the earth, 
The torn fields of France. 
What do you see in our eyes 
At the shrieking iron and flame
Hurled through still heavens? 
What quaver -what heart aghast? 
Poppies whose roots are in men's veins 
Drop, and are ever dropping; 
But mine in my ear is safe,
Just a little white with the dust. 

(1922)

HEY PAUL! In David Banner’s ‘Play’, Isaac, lies a contemporary realisation of the freedoms you and young men the world over died for. All together now, Finger fuck your pussy like you want some, girl / Work it like a nigga straight licking on your pearl / I wanna see you cum in the middle of the dance floor / A nigga can't fuck, what you think your finger made for / I'ma beat that pussy up / You get it wet enough, I might lick it up / Lickey, lickey, lickey, like a peppermint swirl Lick that clit / Cum girl / Uh, I wanna see your legs shake. This may very well be the single most depressing and destructive juxtaposition of all time.

And now it’s your turn. Juxtapose the most perfect, beautiful fragment of writing you can find with some nasty tunez and see what happens. A spot of filthy, filthy dubstep (possibly Bratkilla…) or some Lightning Bolt or Oxes may very well do the trick (Lightning Bolt and Oxes are both mega incidentally – just not, I suspect, for poetry). For one week only, let’s incinerate some fucken churches.

(To access a Spotify essay-soundtrack-playlist to accompany the above, click here)

Sam Kinchin-Smith
Music Editor