Portrait of the Führer as a Young Artist (Or How Hitler Helps Us Counter Aesthetic Idealism)

 Adolf Hitler, Self-Portrait (detail), 1910

Hitler had a long and passionate relationship with painting; one that swung from the love and devotion of his early years as a would-be art student in Vienna where he produced hundreds of sketches and water colours, to his notorious rejection as Führer of almost all modern work as degenerate.

In Mein Kampf (1925), he confesses how his youthful ambition was not to become a great statesman, but, rather, a great artist. Indeed, even in the dark days of 1939, just before the outbreak of World War II, Hitler told a somewhat bemused UK Ambassador: 'I'm an artist, not a politician. Once the Polish question is settled, I want to end my days as a painter.'      

Unfortunately, however, most of Hitler's pictures - whilst technically competent and not lacking in a certain charm - displayed only a mediocre and all-too-conventional talent; one that failed to convince the examiners of the Academy of Fine Arts in Vienna, who twice rejected his application to enrol as a student (first in 1907 and again a year later).     
  
But some - particularly the faceless self-portrait above in which a 21-year-old Adolf sits on a stone bridge and dangles his feet over a colourful stream (possibly contemplating his own failure and growing sense of alienation and anonymity) - really have something intriguing and challenging about them.     

At any rate - and as Peter Beech, a freelance journalist and subeditor on the Culture and Review section of The Guardian (a paper not known for its Nazi sympathies) concedes - Hitler's work, whether we like it or not, isn't that bad. It's certainly superior to most of the outsider art produced by the criminal and/or criminally insane. Beech writes:

"I'm no expert, but I sense that the putdowns of the art world are overstated. Hitler's paintings are amateurish, but they certainly aren't an abomination - that came later. In fact, they're quite sweet. The man who dreamed up the death of the Jews proves to be a surprisingly dab hand at sunlight on stone walls. They show him nearly getting it right, or at least not getting it very wrong. This is much, much worse. Looking at these pictures, it's not enough to say they are something Hitler tossed off during his brief, early masquerade as a human being. The artist quite clearly has a grasp of a very nuanced and very human proposition: what is beautiful."
   
This, as Beech points out, is problematic - not least of all for those beautiful souls who think art has something important to teach us; that it's morally instructive and uplifting:

"What is the link now - if any - between aesthetics and morality? We all accept that our creatives needn't lead impeccable lives, but it's something else to admit that true monsters are capable of taste. ... Hitler's paintings, if we look at them, hard, should help us dismiss any lingering belief that we can learn in a moral sense from something that demonstrates technical accomplishment. They confirm, if we needed confirmation, that there has never been any relation between form and content, between what is pretty and what is right. ... If Hitler can do loveliness, then it has nothing to teach us. Beauty is simply beauty - and that's the truth."

Many have come to accept the banality of evil. But it's only a few as yet who admit also the superficiality of art. 


See: Peter Beech, 'Face it, Hitler's art isn't that bad', The Guardian, 29 April, 2009.

Why I Love Carry On Cruising

Kenneth Williams as First Officer Marjoribanks

There are many reasons to love Carry On Cruising (dir. Gerald Thomas, 1962), the sixth film in the series and first to be filmed in colour.

Firstly, it retains all the innocence and queer charm of the earlier black and white films and is essentially a finely balanced romantic comedy without too much sentiment or too much vulgarity; it's tender without being soft-centred, saucy without being smutty.   

Secondly, regular cast members - Sid James, Kenneth Williams and Kenneth Connor - all deliver excellent (nicely restrained) performances; and, just as crucially, stand-in cast members Lance Percival and the lovely Dilys Laye also do fine jobs. The former, playing the ship's cook, occupies the part originally meant for Charles Hawtrey, dropped from the cast for demanding he be given top billing and a gold star on his dressing room door. The latter, playing a young woman looking for love whilst cruising the Mediterranean, replaced Joan Sims at short notice after she was unexpectedly taken ill just days before the commencement of filming.

Cruising also co-stars the magnificent Liz Fraser and - as I think we can all agree - any film or TV show with Liz Fraser is instantly improved, even if, sadly, not always worth watching. When she departs the series after Carry On Cabbie (1963), it's a real loss. Seeing her in her black underwear always makes happy (and nostalgic); she has the erotic charisma that Barbara Windsor in the later movies, for all her infectious giggling, completely lacks.                    

Someone else who always makes happy (though for very different reasons) is the diminutive, Australian-born character actress and funny-woman, Esma Cannon, here making her third of four appearances in the Carry On series. British cinema would not be British cinema without her and Miss Madderley is a very welcome passenger on board the Happy Wanderer. Her table tennis scene with Kenneth Williams is particularly pleasing.   

Finally, Cruising also contains a somewhat curious scene in which James and Williams discuss different schools of psychoanalysis. James, as Captain Crowther, declares himself to have always been a Freudian and too old to change; Williams, as First Officer Marjoribanks, quips in response that that's nothing to worry about or apologise for - just so long as one remains Jung at heart. 

It's not the greatest joke ever written. But it's inclusion in a film of this nature is surprising and a welcome relief from the more predictable double entendres, sight gags, and elements of slapstick.    

On the Keys to Happiness (and the Women Who Hold Them)

I hold the keys of eternal bliss; whatever shall be locked in this life shall be locked hereafter

 and whatever you loose on Earth shall be loosed in Heaven.

For some lovers, it's not enough to symbolically hold the key to their partners heart; they want a real key that brings with it real power and authority - and it's not the aforementioned organ that they wish to exercise control over either ...

The chastity belt was originally a device designed to be worn by women in order to prevent sexual activity and remove even the temptation to such. Today, however, modern versions are predominantly made for male wearers and used not by crusading knights, elderly husbands, or moral puritans obsessed by the thought of masturbation, but by submissives within the world of BDSM looking to heighten their erotic pleasure via games of genital tease, torture and orgasm denial.       

The use of a chastity device in a kinky context, be it a traditional belt or a more contemporary cage design, is of course consensual. But, once it's locked in place, it's the amorous subject alone who, as keyholder, is expected to call the shots and assert dominance over the wearer and their sexual behaviour. Only the keyholder may decide if, where, and when the chastened object might be released and allowed some degree of gratification; the latter having often been trained to quite literally come on command.     

Keyholders can, of course, be of any gender or sexuality. But, as most of those happily squeezing their genitals into chastity devices are heterosexual men looking to be enslaved by a cruel and beautiful mistress, it follows that most are female.

And, interestingly, many of these women enjoy carrying the little keys of happiness entrusted to them at all times; often wearing them on a necklace or bracelet, or, as in the picture above, tucked neatly and conveniently into a specially designed stocking top.      

(The point - for those who like things spelt out - is this: we none of us hold the keys to happiness in our own hands; we are all dependent upon others for our fulfilment.)

On the Peacock and the Gamekeeper

Peacock by go-bananas on deviantart.com

The literary imagination of the nineteenth-century was fascinated by the symbol of the peacock. Indeed, even the young D. H. Lawrence, writing at the beginning of the twentieth century, can't resist having one of these ornamental birds come screeching its way into his first novel  ...

The narrator, Cyril Beardsall, is sat one evening in an abandoned churchyard, chatting with his new acquaintance, Annable, the misanthropic (and misogynistic) local gamekeeper.

Although Annable is despised by the villagers and regarded as something of a devil, Cyril can't help confessing the erotic attraction he feels towards him; "his magnificent physique, his great vigour and vitality, and his swarthy, gloomy face drew me in". Cyril also likes the way that the older man treats him "as an affectionate father treats a delicate son", touching him on his shoulder or knee, as they sit discussing "the decline of the human race" into folly and corruption.        
 
Suddenly, a peacock came flapping out from behind the church and flew onto the marble figure of an angel that continued to guard a grave, even if it had long ceased caring for the poor parishioner buried therein:   

"The bird bent its voluptuous neck and peered about. Then it lifted up its head and yelled. The sound tore the dark sanctuary of twilight. ... Again the bird lifted its crested head and gave a cry, at the same time turning awkwardly on its ugly legs, so that it showed us the full wealth of its tail glimmering like a stream of coloured stars over the sunken face of the angel."

At first, Annable was silent and simply watched the peacock moving uneasily in the twilight. But then he exploded with unexpected and somewhat absurd misogynistic rage - especially considering the exuberant maleness that the large bird displayed: 

"'The proud fool! - look at it! Perched on an angel, too, as if it were a pedestal for vanity. That's the soul of a woman ... the very, very soul. Damn the thing, to perch on that old angel. I should like to wring its neck.'"

The peacock gave another loud cry; it seemed to Cyril to be stretching its beak at them in derision. Annable picked up a piece of earth and flung it at the bird, saying: "'Get out, you screeching devil!'" The peacock flew away, over the tombs and down the terraces.

"'Just look!'" said Annable, "'the miserable brute has dirtied that angel. A woman to the end, I tell you, all vanity and screech and defilement.'"

Now, it transpires that this contemptuous view of women is the result of a bad marriage experience; according to Annable, his wife manipulated him from the beginning and quickly turned him into an objectified plaything. Then she got bored and fell in love with a poet. Feeling he'd been shit upon and humiliated, he left and allowed the world to think him dead.

That doesn't sound very nice. But, ultimately, his ugly and resentful remarks on women - like those of Lawrence's other famous gamekeeper, Oliver Mellors, - are unpleasant, unfair, and unforgivable, whatever the unfortunate circumstances that gave rise to them.
 

See: D. H. Lawrence, The White Peacock, ed. Andrew Robertson, (Cambridge University Press, 1983).

In Praise of an Unnatural Death (and in the Hope of Dying on the Scaffold)

Unnatural Death by Ashkan Honarvar (2015)

Ultimately, to have done with the judgement of God means refusing to accept what medical professionals like to describe as death by natural causes. Which is to say, the all-too-predictable kind of death that results from illness, old age, or an internal malfunction of the body and its organs. 

One should - as a philosopher and anti-theist - always desire and seek out the opposite of this; i.e., the joy of an unnatural death, be it by accident, misadventure, homicide, suicide, or that mysterious non-category that is undetermined and which, for those enigmatic individuals who pride themselves on their ambiguity, must surely be the way to go.

Personally, I have always quite fancied the idea of being executed. It's not that I particularly want to be hanged, guillotined, gassed, electrocuted, given a lethal injection, or shot at dawn, but I do like the thought of enjoying a last meal before then facing an audience before whom one can display the noble virtues as I understand them; irony, indifference, and insouciance. 

I would like, in other words, to go to my death with the cool courage and stoicism of the dandy - and a ready quip on my lips that might cause even my executioner to smile (and serve also to annoy the po-faced authorities who demand seriousness and expect contrition in such circumstances). 

In a famous essay from 1927, Freud theorised gallows humour thusly:  

"The ego refuses to be distressed by the provocations of reality, to let itself be compelled to suffer. It insists that it cannot be affected by the traumas of the external world; it shows, in fact, that such traumas are no more than occasions for it to gain pleasure."

There are many examples; William Palmer, the notorious nineteenth-century murderer known as the Prince of Poisoners, is said to have climbed the gallows and placed a foot tentatively on the trapdoor before enquiring of the hangman: 'Is it safe?'

But I think my favourite story concerns Mussolini who, about to be shot by communist partisans, asked them to aim at his heart - before turning his face to one side and adding 'Don't ruin the profile.'

Cold Turkey and TV (How We're Betrayed by Tradition)

Portrait of the Artist as a Young Boy
(looking as bored then as I feel today)

There are many traditions associated with Christmas; singing carols, decorating a tree, hanging up a stocking, kissing under the mistletoe, exchanging presents, etc.

But, for many people, the big day itself is ultimately reduced to a plate of cold turkey leftovers and zoning out in front of the TV: sic semper erat, et sic semper erit. Is it any wonder that suicide rates spike at this time of year?

The fact is, whether we like to admit it or not, traditions can be fatal: the mindlessly repetitive transmission of customs that no one really cares about and beliefs that no one considers truthful, from one generation to the next, is at last soul-destroying.

Far from sustaining a people within a living faith or culture, tradition becomes a substitute for such; an empty form, devoid of significance, whose meaning has long been forgotten. Nietzsche warned of the way that history can, at a certain point, become disadvantageous; the past starts to enforce its claims on the present regardless of the cost, preventing the birth of new thoughts and feelings and any future unfolding.

Etymologically, the word tradition warns us of the threat that it contains; for tradere means not only that which is delivered as a gift across time, but also that which betrays. We are exposed to danger by our own inheritance, as soon as we allow it to automatically determine who we are and how we live.

This is why we must challenge convention and all forms of doxa; why we must not simply show unquestioning love and loyalty to the past; why we must let the dead bury the dead (so that they don't bury us beneath the accumulated filth of ages).

And this is why, if you really want to have a merry Christmas, it takes more than pulling a cracker and wearing a paper hat round the dinner table ... 

All I Want for Christmas ...

All I Want for Christmas Is You

Ever since a young child, I have, as a rule, instinctively felt myself in visceral opposition to that which has mass popular appeal, or solicits universal critical consensus. But there are, thankfully, always exceptions to any rule - even one's own.

And perhaps the loveliest of all exceptions is that slice of immaculate pop magic conjured up by the American singer-songwriter Mariah Carey during the festive season of 1994.

It's not my absolute favourite Xmas song: that would be Christmas Time (Don't Let the Bells End), by The Darkness (2003), for reasons indicated elsewhere on this blog [click here]. And, obviously, I'm also very fond of Slade's Merry Xmas Everybody (1973), showcasing the unique genius of Noddy Holder.

But Mariah's is the best and gives the purest sense of festive joy. She is, as one critic has pointed out, a great philosopher of the human heart:

"Since 1994, the song has sold more than 14 million copies and made a reported $50 million in royalties. And besides making her some sweet seasonal cash, Carey's masterpiece is an incredible feat of philosophical subterfuge. Christmas is a time of material and affection-based excess, yet the song is narrowly focused on just one thing: getting to be with a specific person, e.g., you. It rejects the idea of love in general in favor of love in particular, simultaneously defying and defining pop-music conventions. With infinitely more economy of expression and undoubtedly catchier lyrics, "All I Want for Christmas Is You" is a sort of Hegelian dialectic of Christmastime desire, taking the conflicting notions of abundance and specificity and packaging them neatly into an earworm for the generations."
              

- Emma Green, 'All I Want for Christmas Is You: A Historical Dialectic', The Atlantic (23 Dec 2015).

Infrathin Erotica (Fragment from an Illicit Lover's Discourse)

 

The blissful feeling that the Illicit Lover experiences when he sits in a seat on the Tube vacated by a young woman and her body heat is transferred unto him is heightened by his knowledge that this is not merely a consequence of the second law of thermodynamics, but an example also of Duchamp's ambiguous concept of the infrathin - a concept which refers to (amongst other things):

(i) those fleeting sensory experiences whose pleasure escapes any form of rational explanation  ...

(ii) that intangible fourth dimensional state that transcends mundane existence ... 

(iii) the almost imperceptible difference that exists between two seemingly identical objects ...  

Later, he notices how the perfume of the Prostitute marries with the scent of her flesh into an intoxicating cassolette. And he delights also in the way that her cigarette smoke smells of the mouth that exhales it (the same mouth that fellates him with such consummate ease).  

Carri on Sex Pistols (Comments on the Case of Joe Corré and His Bonfire of Punk)

Artwork by Jamie Reid 

(Virgin 1979)

I've been asked to comment on Joe Corré's decision to burn his valuable collection of Sex Pistols memorabilia on the River Thames last month in order to mark the 40th anniversary of the release of Anarchy in the UK, whilst, at the same time protest punk's commercial co-option. Obviously, there was a good deal of vanity and a certain selfishness in the stunt which, from what I've seen of it, all looked a bit naff. And - who knows? - perhaps Henry Rollins is right to suggest that it should ultimately be interpreted as an act of revenge by an angry son left out of his father's will.

But, having said all this, the amount of scorn and vitriol directed towards Corré by aged, self-righteous punks - including, of course, that man-mountain of hypocrisy, Johnny Rotten (rightly identified as The Collaborator all those years ago) - is surely undeserved. For if a man wants to burn his own bondage trousers (and his own inheritance) that's really his own business and ultimately hurts no one. I'm not sure Malcolm would have found the whole thing hilarious, as Corré suggests, but I doubt it'll have him spinning in his grave either.

I suspect rather, that, were he still alive, what Mclaren would have done is remind us of his own ingenious and far more provocative attempt to expose and destroy the legend and the legacy of the Sex Pistols in the aftermath of the band's spectacular implosion, after Rotten flounced off in search of artistic integrity and a more mainstream career in the music business.

Ultimately, Never Mind the Bollocks was just another rock 'n' roll album; conventional in every regard. Obviously, there are some unbelievably powerful tracks. But I'm tempted to say now that the greatest thing about it is the title and Jamie Reid's artwork.

Similarly, the really interesting aspect of the Sex Pistols' story is the point at which they become more than just another corny 4/4 beat combo. And it starts when Malcolm conceives of The Great Rock 'n' Roll Swindle and begins the process of not only destroying everything - including the loyalty and expectation of their own followers - but anticipating precisely what would happen next; the assimilation and marketing of punk.

Julian Temple's film opens with Malcolm and Helen burning all traces of the band's existence in the hope that they might somehow prevent their posthumous exploitation in the form of either collectable artefacts to be showcased in museums and expensive art galleries, or cheap merchandise churned out for easy consumption by gullible fans. The same film later reveals the forlorn nature of this hope; if you like their pop music, you'll love their pop corn - it's pure punk!  

What I'm arguing, in short, is that Joseph Corré's rather feeble gesture was unnecessary; his father had alerted us in 1979 to fact that the Sex Pistols were by then no more than a brand name and that Bambi was already being butchered.         


Note: those interested in watching film of Corré's stunt should click here.

City All Over (Notes on Urban Wildlife)

Some creatures have always been happy living synanthropically alongside man and have long been residents of the city. Rats, pigeons, and cockroaches are three very obvious examples, drawn from three very different classes of animal. We may think of them as pests to be exterminated, but they think of us much more generously and not only survive but thrive in the urban environments we've constructed and gradually extended over the entire globe.     

Indeed, as our cities grow ever greater in size and areas of natural wilderness continue to shrink and disappear, more and more species are faced with the stark choice of either adapting to life within the concrete jungle, or face extinction. Some, obviously, aren't going to make it. But a surprising number of animals - large and small - are at least giving it a go and competing for food, space, and shelter alongside the more familiar magpies, foxes, squirrels, and stray cats.  

Unbelievably - but wonderfully - we can today find wild boar in the suburbs of Berlin, boa constrictors in Miami, baboons in Cape Town, big cats in Mumbai, and birds of prey in NYC. Even the Hollywood Hills are home to their very own mountain lion.      

What's amazing is the speed with which some creatures are getting the hang of things; learning to navigate the traffic or exploit the subway system; learning to communicate in new ways, thereby overcoming the problem of constant noise; learning to hunt by electric light; learning to exploit human waste as well as human kindness. It seems that, in some cases, we're not just witnessing radical adaptability and the acquirement of new transferable skills, but accelerated evolution; the creation of bolder, brighter, brand new urban species. 

All of which makes me happy and just a tiny bit hopeful for the future. I think everything that can be done to encourage and further this should be done; that we should welcome as many of our animal brethren in out of the cold as possible and allow them to enjoy the benefits of big city living.