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Thursday, October 31, 2013

LY #45 But everyone is an outcast!

At least those of us who have been bought into some form of identification with outcast characters.  People form groups, groups create outcasts.  Except for certain times of cultural explosion when people partake of the magic elixer that lets everyone become an outcast.  Is this what Bakhtin (or was it Volosinov?) meant by the Carnivalesque?

The contemporary growth in the United States of Halloween as something more than a kids trick or treating event may have evolved from American gay culture.  In a November 6, 2007 Advocate article, "Halloween: Is the Party Over?", writer Will Doig talked with gay parade organizers who said that sometime in the 80s the great gay district Halloween events became heavily attended by straights.  He noted that   "Across the country Halloween festival organizers were coming to the same realization: Their local gayborhood parties were attracting an annual pilgrimage or heterosexuals — college kids in pea coats, suburban Republicans, teens from the rough side of town. They arrived, costume-free, to get drunk, climb lampposts, whoop and gawk, take pictures, and, occasionally, harass."  He quoted Basil Twist, the puppeteer designer of the Potter movie Dementors, thinks that for straight people are "living vicariously through us because of the freedom we have, that freedom that everybody's capable of, but poor straight people, they can't always hit that mark."

But something else of great importance happened in the 80s to turn Halloween into a big, straight party:  Chuck Martinez, a magician working for a San Diego Sears Robuck in the mid-1970s convinced his bosses that it would be profitable to open a Halloween section once a year.  Throughout the eighties he worked with Sears to create Halloween Popups all over the country.

Though the nineties more pop-ups appeared.  In 1999 Spirit Halloween ran 63 temporary stores.  In 2011,  there were 300 Spirit popups and 400 of its competitor, Halloween USA.  According to the National Retail Association, "Americans are expected to spend $2.6 billion on Halloween costumes for adults, children and pets. Total spending – including candy and decorations – is expected to reach $6.9 billion"  And you'll also enjoy the pithy tiny animated history videos at The History Channel.  I loved the one called "Halloween Goes Commercial."

All this data suggests to me that many Americans feel a connection to the dark, the outsider, the one who runs amok.  So, in other words, my childhood identification with Larry Talbot, The Wolf Man, just makes me an average American.


I loved the holiday when I was a kid and made much of it.  In this old photo, you see me and my oldest friend as high school age monsters on my parent's porch.  (I think this porch turned up in a novel he wrote a few years back about a serial killer, as did the rest of that childhood house.)  I believe that we might have made some people scream that year, because we pretended to be stuffed decorations and suddenly jumped out at people. We may have made one kid wet his pants.

Wednesday, October 30, 2013

LY #44: Universal Monsters: They Will Survive

New from Jib-Jab
Jib-Jab came out with a salute to the classic Universal monsters.  It stars Frankenstein's Monster, the Wolfman, the Mummy, Dracula and a sexy witch.  Tonight I put together a little show with some friends, my spouse and my dog and posted it to Facebook.  (Tomorrow night I'll share an old Halloween picture of one of these friends.)


I call these monsters Universal because, of course, four of them were the creations of the masters of horror at Universal Studios.  The "I Will Survive" theme is appropriate because I think these classic films will survive, in spite of the trash talk sometimes thrown against them by people like Brianna Brey of The Source Weekly.  Last week, in the article "The Horror, the Horror!" she wrote that "Universal Studios produced a "monster series" (1923-1960), which only reinforced the pop-trash perception" of horror stories.  While I may agree with her about many of the sequels (certainly, as much as I may love it, Abbot and Costello meet Frankenstein is not a deeply meaningful flic), I must protest her pop-trash label of the original movies.

Director James Whale's Frankenstein (1931) (and its witty (and tres tres gay) sequel, The Bride of Frankenstein (1935), are beautifully filmed and ask serious questions about the mixed duty men of science owe to their society and their calling.  Tod Browning's Dracula, while stagey and slow in that early-talkies way, is still notable for it's psychological insight into the liebestod nature of romantic obsession.  It also, according to Boston University professor Leland Monk, contains one of the first if not the first example of female orgasm in a legitimate, big screen movie.  The Mummy (1932) is troubling now because of its Orientalism and yet well worth watching for director Karl Freund's visually stunning cinematography and Boris Karloff's Im Hotep, a character both sinister and sympathetic in his quest to reconnect with his true love.

My favorite character, however, is The Wolfman (which is why, in my Jib-Jab disco number, I cast myself in his hairy ears).  Starring Lon Chaney Jr., the not-as-talented son of the brilliant silent actor, it's not as good a film as the other three.  Chaney is miscast as an ordinary man But this story of a man who becomes, through accident, something that is out of control and harmful to those he loves spoke to me as a child who always believed she was responsible for all the tension in her household and later as an adult who felt, who feels, different and out of place.  After the first time I saw the film as a child, I began drawing pentagrams on my palm and imagining that I turned into a wolf at night.  I often recited the poem:

Even a man who's pure of heart
and says his prayers by night
may turn to a wolf when the wolfbane blooms
and the moon shines full and bright.

(Wikipedia, by the way, tells me that this quote is incorrect and that the last line is, "When the autumn moon is bright.")

It's probably not surprising to anyone familiar with academic stereotypes that someone like myself - a self-proclaimed outcast - wound up as a college teacher.  Our business is filled with weirdos and eccentrics.   And as someone labeled as both, someone who has spent much of the past 40 odd years getting therapeutic assistance for various psychological botherations, I've always appreciated the other poem from The Wolfman, spoken by the great Polish character actress, Maria Ouspenskaya:

"The way you walked was thorny
through no fault of your own,
but as the rain enters the soil,
the river enters the sea,
so tears run to a predestined end.
Now you will have peace."

For more about the great film monsters, try to catch Universal Horror, a 1998 documentary by the great film historian Kevin Brownlow, the next time it's on TCM.

Tuesday, October 29, 2013

LY #43 Not all parties...



Conventions are great for parties and whatnot.  Especially whatnot.  Not that I've experienced a lot of whatnot at conventions but I've heard other people have.

In my experience, the conventional convention experience involved figuring out where the best parties were going to be (besides the Utah party) and trying to find someone going to it -- or just walking the halls of a convention hotel looking for bodies clustered outside of doors, signalling a party within.  Parties used to mean free food and wine.

Not that all my conventional conventioneering involved going to parties, of course.  Conventions are also a great way for community college teachers to connect with others of the breed, get new ideas for teaching and be inspired by new thinking in one's areas of expertise.  Over the past few years I've enjoyed listening to graduate student research on social media and movies.

I've also held up my end of the social contract by writing a few things.  I wanted to share them with you but today when I looked on my school computer I discovered that I didn't have an electronic copy of my vita!  Ack!  It was gone!

Hilton Anaheim, WSCA Convention Hotel, 2014
Then I remembered that when the old COCC.edu bit the dust, Barbara Klett or her minions secreted a copy of my old webpages, complete with my vita.  So herewith is the info about my conventional papers.  I found the CD with the webpages and cut a pasted and voila!  Here's my years.  Hopefully I'll have one more G.I.F.T.S. presentation in Anaheim before I hang up my disciplinary guns.


Convention Papers

Western States Communication Association 2011
Consumers, Co-Creators or Contributors:  The Construction of Audience Identity through the Station Homepage”                                                              
Western States Communication Association 2010
“Managing Assessment and Artists in an Age  of Unexpected Abundance:  Is there an App for that?” 
Western States Communication Association 2007
 "Rubrics for Public Speaking"                                                                                      
Pacific Northwest Division of the Community College Humanities Association,  2004
 “Wrestling with Romantic Love”                                                                                 
Community College Humanities Association 2002
  “I love New York On Film”                                                                                           
Popular Culture Association   2000
 “Murder and Deviance in Wartime New York:  The Lonergan Case”                                        
National Communication Association   1998
 “Notes on Identity, Narrative and the Andersonian Experience.”                                              
Western States Communication Association    1997
"The Pain Now, the Happiness Then:  Dialogics, Dialectic and Dying in Shadowlands"                                                                                                                              
Western States Communication Association   1996
"The Texas Primary Decision:  A National Drama of Racial Equity and Federal  Power During Wartime."                                                                                                   
Pacific Northwest American Studies Association   1994
"Life and Liberalism When the Negro Went to War."                                                                  
Popular Culture Association   1993
"Savage Breasts and Buffalo Soldiers:  Life, the Negro, and Wartime"     
Western States Communication Association   1992
  "The Arsenal on Fire"                                                                                                                        
National Council of Teachers of English   1991
  "On Becoming a Woman:  Teaching as Transformation"                                                            
Western States Communication Association   1991 
"(You Can't Scare me!) I'm Workin' for the Union."
"A Barthesian Strategy for the Management of Rhetorical Marginalization."
Popular Culture Association  1991
"Riots, Pictures and the Construction of White Liberalism During the 2nd World War."
International Conference on the Outsider  1988
"Dialogue of Limits:  The Utilities of Deviance and Deterioration in Life, 1937-1938."                                                   
International Communication Association  1988
"The Bitter Epic:  An Aesthetic Containment of the Great Depression."          
Western Speech Communication Association  1988
"Accommodating Revolution:  Media Effects, Academic Marxism and Radical Practice."                                                                                      
American Studies Association   1987
"Seeing Japanese:  The Constitution of the Enemy Other in Life Magazine, 1937-1942."                                               
Speech Communication Association   1986
"The Panoptic Elements of Speech Communication:  Power Relations in the Basic Course."
  "A Challenge to Love:  The Concept of Community in the Gay Movement's Response to the AIDS Crisis."
Popular Culture Association   1986
                "Anarchy and Order in the Erotica of Tom of Finland"