I'm feeling HorrorPops, especially some of their darker stuff. HorrorPops are a Danish punk band, whose influences are mostly rockabilly and psychobilly. Especially when you get into more horrorbilly stuff (like Nekromantix and Calabrese), a lot of the songs are cinematically inspired. On the album, "Kiss Kiss Kill Kill," there are several songs inspired by classic movies. Most notably in my mind was "Thelma & Louise," which draws on the film to paint a picture of a pair of freewheeling girls on a joyride (when, in reality, the ending of the movie was much more tragic). The titular song itself, which I'm featuring today, takes it's name from a campy Euro-Spy movie made in the mid-60s that featured two American police detectives in Yugoslavia. Just judging by the movie poster, it looks ridiculous - but, then again, I'm the type of person who likes to watch awesomely bad movies.
In this shiver of symphony
the closing shadows turn like a still
a thousand feet across the floor
and in a second I'll never grow old
quiet now quiet now
crying I won't stop
the quivers running down my mind
ha-ah-ah-ah-oh-oh-oh!
close enough
close enough
and I'm feeling tired
(kiss kiss kill kill)
(kiss kiss kill kill)
The actual song lyrics, however, sound more like something out of a dimestore vampire novel. I couldn't find much on the lyrics meaning, so I'm going to go a little rogue and write my own interpretation. The singer is in love with someone who drains her....and she realizes it. But she doesn't want to let go. If he/she's going to kill her, she welcomes it. Like a soft kiss. I always thought that was the most disturbing part of the most recent spate of vampire/werewolf romances. It's like the collective unconscious believes that love has to be painful and even dangerous. Or maybe it's just the same story - we want to believe love changes people for the better, even when we (literally) love a monster. Even after they've done the absolute worst thing they could to you (like murdered you for your tasty tasty blood, metaphorically speaking). Coincidentally, classic rockabilly films usually center around a high-class girl falling for a "greaser." And, wouldn't you know it, the girl usually gets her heart broken.
Just a brief rundown on rockabilly - it's one of the earliest forms of rock'n'roll, which took hold of America during the 1950s, especially in parts of the South. It mixed elements of country music with that of blues. The name itself is a combination of "rock" and "hillbilly," as if you couldn't have figured that out yourself. The sound was popularized by Buddy Holly, Johnny Cash, and - of course - Elvis Presley. One of my first loves. Did you know that Elvis was assigned to the 10th Mountain Division when he was drafted into the Army? Well, I do....but that's because my dad would bring it up all the time because he was also in 10th Mountain Division. Regardless, Elvis was one of my favorite artists growing up, because his sound and his voice was so unique.
Nowadays, rockabilly has become synonymous with the subculture that it birthed. There's a particular style that goes with it, of which I'm quite fond. Femmes have their choice of dressing like a Pink Lady or, if they're feeling fancy, they can squeeze themselves into a "wiggle" dress (this is the actual technical fashion term for that style). In recent years, there's been an explosion in rockabilly style, so if you're life is conducive to dressing in pencil skirts and shimmy dresses all the time, you have plenty of options. Even if you can't do that, a few fit & flare shirt dresses go a long way if you're going for the look (and they're super comfortable). Alternatively, if you identify as the more masculine type, your job is easy - jeans, steel-toed boots, a white t-shirt, and a leather jacket. Fucking classic and super hot.
I've been obsessed with this song since I first saw "Who Framed Roger Rabbit?" which - full disclosure - was legit one of my favorite movies growing up. I loved Jessica Rabbit - I thought she was very glamorous and being a jazz singer in a smokey cabaret sounded like a pretty good career option. Still think I could pull it off, if I really wanted to.
I've been feeling a little uninspired lately. Just a short bout of anhedonia, nothing I haven't been through before but all I've really wanted to do lately is read and sleep. I read a passage from a psychology text today that said it's important to schedule in things you like to do, even if you don't feel like doing them. Like getting up to do yoga and meditate, even though I'm still tired when the alarm goes off. Or writing something, even though I think it's going to be shit. Morning car rides are important - because I genuinely enjoy driving (I've been known to get lost on purpose, just to drive around a little while longer) and it's my time to enjoy music. Lately, I've been listening to Spotify's Taylor Swift mix a lot. Her songs paint such a fantastical, romantic picture of life, even the sad and angry ones - her Cancer moon is so obvious in her art (because Cancer placements, no matter what happens, we believe in True Love above all else - and Taylor Swift's love life has inspired basically her whole discography) and I'm surprised I didn't see it before. I'll save my "Why I Love Taylor Swift" essay for another time, but for now, I'm just trying to climb my way back to Hopeful Jess, because I miss her.
However, that leads us into today's topic, which is one of my favorite film styles - film noir. True story: I have written several essays on the topic of film noir in French to get my second degree (which is in the French language). No, it was not easy, but it was fun, if only to fall in love with Alain Delon and, to a lesser degree, Jean-Paul Belmondo. There are twitches and habits I still do today only because I saw Jean-Luc Godard's "Breathless." Film noir and noir-ish literature are critical to the dieselpunk aesthetic, for obvious reasons. It was a genre that evolved primarily from the late 1920s to the 1940s. As such, the bulk of the classic noir films were made pre-Code, which set moral standards on films, meaning that they get closer to some of the darker themes that you generally don't see in popular films made in the 40s and 50s. Pre-Code films were able to get away with more violence and sexual innuendo, which is what gives film noir its flavor.
You had plenty money 1922
You let other women make a fool of you
Why don't you do right, like some other men do?
Get out of here and get me some money too?
You're sitting there wondering what it's all about
You ain't got no money, they will put you out
Why don't you do right, like some other men do?
Get out of here and get me some money too?
When someone mentions anything "noir," you probably get a picture in your head, particularly one of a gritty crime drama that's shot in black and white. Usually with a plot that could've been ripped from a story in Ellery Queen's Mystery Magazine (a mystery/crime fiction digest I read a lot of when I stayed at my grandparents' house during summers). As a genre, noir tends to rely heavily on it's archetypes - the Private Eye, the Femme Fatale, the Crime Boss, et cetera - and the plot is very character-driven. However, it should always be noted - with all good narratives - it follows a fairly predictable story arc (which, inevitably, mirrors aspects of the Hero's Journey - always gotta bring things back full circle). The familiar film noir plot goes a little like the following: Our Hero (or, in some cases, Anti-Hero) is down on his luck. Perhaps he's fighting an addiction - alcoholism is common in film noir, especially in films from the 20s and 30s - or maybe his wife just left him, he's broke, his business is failing, or some combination thereof. That's when a feminine character - often a Femme Fatale, but sometimes just a Damsel in Distress - comes to him with a problem to solve. A quest, if you will. This is not a love story, my friends. Not usually, anyway. Yes, there will be sexual tension but most often, this woman is leading him into some sort of danger or quandary. Sometimes, she's even implicated in the trouble, like in "The Maltese Falcon" and the Hero (in this case, Humphrey Bogart) turns her in to the cops. Or maybe she's an innocent bystander who watches the Hero find some way to fuck up all on his own. You never can tell with film noir - its characters kind of do whatever they want, regardless of whether or not its logical. And, a lot of the time, they end up dead. Jean Paul-Belmondo at the end of "Breathless?" Dead.
The point I'm making is that you can't really pin down film noir as a single plot. The closest thing you could call it is a style. The lighting, the costumes, the music, the gritty realism, a stark commentary on morality, and a less-than-happy ending - these are the elements that define noir. And, much like porn, you know it when you see it. A few memorable films that I would classify as noir (some would disagree) that I recommend:
Breathless directed by Jean-Luc Godard - You fucking saw this coming. But seriously, brilliant film and one of The Essentials (which are movies you have to see if you want to understand anything about film-making).
Le Samouraï directed by Jean-Pierre Melville - Because everyone should fall in love with Alain Delon at least once.
Rififi directed by Jules Dassin - The climax of this film is a 25-minute heist scene that is filmed in complete silence, a truly remarkable act of cinematic brilliance.
Casablanca directed by Michael Curtiz - Arguably the greatest movie of all time (and definitely Top 5 in films you have to see in your lifetime), it's a beautiful yet tragic love story that combines all the great elements of classic film. Some would argue that it's not noir, but if we're defining it as a style, I think all the key ingredients are there.
Today, I'm going to introduce you to the delightful genre affectionately known as "chap hop." It's exactly what it sounds like - hip hop from the point of view of an early 20th century gentleman. Very much in the same vein of those fictional rap battles on YouTube that feature everything from Disney princesses to historical figures. Chap hop has grown to be a beloved part of the retro-futurist music scene, as its playful sound adds a little light-heartedness to the gritty atmosphere portrayed in most steampunk. Chap hop originated in England and focuses on stereotypical English pastimes, like tea, cricket, and proper etiquette in social settings. Looking at the artists in this genre, most of their names are plays on the old-timey version of the idea of the 19th century gentleman, ranging from pretty tame Professor Elemental to the downright punny Poplock Holmes. Regardless, it's British humor at it's finest - self-deprecating, full of dry wit, and hilarious....as long as you understand the cultural footnotes.
I've got super producers and fans that play me
You've got a granddad's mustache and a ukulele
Don't look around sir, I'm speaking to you
Roll up your shirt sleeves, Queensbury rules
Never test professors with the cleverest wits
Let's settle this like gentlemen: armed with heavy sticks
In "Fighting Trousers," Professor Elemental is essentially challenging Mr. B The Gentleman Rapper to a round of fisticuffs. Some of the fun references that the average layperson may not be familiar with (especially if they haven't delved to deeply into British culture and Steampunk) are the insistence that they follow Queensbury rules, which are the generally accepted rules of boxing. Also to be noted in the world of chap hop is the extensive use of the instrument affectionately known as a "banjolele," which is ukulele-sized banjo. To be honest, I didn't know such a thing existed until just now, but it also helped me understand the reference to George Formby. Formby was an early 20th century comedian who told jokes through song, using a banjolele to accompany his verses. Anyway, the "rivalry" between Professor Elemental and Mr. B provides some entertaining fodder for the genre, with Mr. B putting out his own diss track, "Just Like a Chap," in response to "Fighting Trousers."
Today, we're taking a veer more towards the steampunk-y side with The Dresden Dolls. This was another of those songs I liked to listen to on repeat when I was in college. Dark Cabaret was one of those genres that made me ecstatic to learn it existed. Besides that, I'm a big fan of Amanda Palmer - she always seems so un-apologetically herself. She doesn't compromise who she is or pretend to be someone she's not just to please others and I really respect that. Her performances can be whimsical one moment, passionate and raw the next. Her tweets also give me a little comfort from time to time. I think her and Neil Gaiman's marriage is fascinating, because they're both on the road for large swathes of time, apart from each other. No, they're not always happy with that situation but they're both pursuing their dreams and support each other, regardless of how far away those dreams take them. Besides, the distance is temporary. It's all temporary.
Obviously, she wrote this song long before she met Neil Gaiman (though, I'm sure she knew who he was at the time, since he was a well-established author by then). In "Coin-Operated Boy," she longs for a love affair without the complications. Without the vulnerability, without having to expose her heart to destruction. Someone she can pull out when she's feeling lonely and wants the good things, no disappointing stuff (like catching feelings and wondering why they're not answering your phone calls). Ultimately, it's a song about loneliness, because she knows that a "coin-operated boy" would just be playing pretend. It wouldn't cure what ails her - the gut-wrenching feeling that she ruins all her relationships because she is fundamentally unlovable, and that's why the ones she loves always leave her. The sweet sing-song voice quickly turns to quiet rage during the bridge, almost sounding petulant. Like she knows it's a bratty, childish thing to want so much without having to sacrifice anything in return. But it would make things so much easier and less painful. The last verse is what gets me, though. She sounds so resigned to loneliness, it's heartbreaking just to hear.
Coin operated boy, he may not be real experienced with girls
But I know, he feels like a boy should feel, isn't that the point
That is why I want a coin operated boy
With a pretty coin operated voice saying
That he loves me, that he's thinking of me
Straight and to the point, that is why
I want a coin operated boy
This is just going to be a purely "song of the day" post. I haven't been really feeling like myself lately and writing sometimes takes a lot out of me. On the bright side, I've been writing some disturbingly dark poetry. Might fuck around and submit to a few contests. IDK. I'll probably write a few paragraphs on Steampunk later this week, when I'm feeling more focused, preferably after my next certification test. Finally, since I enjoy promoting the work of my favorite artists, I recommend reading Amanda Palmer's "The Art of Asking." I haven't read it yet but it's on my list. It's up there, along with "The Artist's Way," as a book I'm always being told to read by my creative friends. I've heard good things and, thinking about it now, I really should move it up higher on my list.....
"Black Swamp Village" epitomizes my favorite elements of old school jazz. There's a dark sadness behind the music and the words, but it builds into a frenetic pitch, subverting expectations. A perfect back drop for today's topic - occult influence in dieselpunk.
Steampunk, as a genre, is highly focused on how technological developments would play out during that era. Dieselpunk has that focus on science, to a similar extent, but there's always a supernatural element to dieselpunk, too. There is this duality that is featured very heavily in dieselpunk - light vs dark, good vs evil-type stuff - which plays well with both these elements. In the genre, science and magic are both tools that can be used interchangeably - or often side-by-side - within this greater fight for the soul of humanity. One of the comics I like to read, "The Adventures of the 19XX," features both heavily, with science often enabling or enhancing the inherent power of magic. Magic - and by extension, the occult - is perceived as ancient and natural. As such, the effects are chaotic and cannot be controlled, only harnessed - in the right context, of course.
I went to the black swamp village
Where strange people live
I saw a scrawny drunk old man
Who gave me a flask to drink
He started speakin' unusually
Sounded kinda 'of' scared
He said listen to me carefully 'cause
I'll tell you something I never tell
I went to the cemetery
Where lies my dead wife
And believe me the graves were opened
And skulls and bones raised
To understand the occult in the context of The Great War Era, you have to consider where the genre falls historically. It is encompasses the space between two of the most violent wars in human history and, during it's core years, there's a both the height of economic prosperity and depths of economic devastation. Add onto it the rising influence of organized crime and the even darker ideology of Nazism, the populace looked to ancient knowledge and intuition for solace. To be honest, the period was not unlike what the world has been like since 2001. But I digress. There are many occult influences that converged during this time period to create a veritable smorgasbord of supernatural plots within the dieselpunk genre.
During the late 1800s, Spiritualism, a movement based on the belief that the spirits of the dead exist and have the capacity to speak to the living, had gained a level of popularity across both the United States and Europe. However, during the 1920s, three distinct branches of spiritualist beliefs began to emerge. Syncretism, which involves individual practitioners being loosely organized around a central figure (usually a medium), but without a set hierarchy or set of beliefs. Some adopted elements of theosophy - such as elements of Eastern religions, astrology, and ritual - whereas others combined their spiritualist beliefs with those of their Christian faith. The Spiritualist Church also evolved during this time. The Spiritualist Church sought to put a formal structure around spiritualist practices and provided education on their methods. The third branch evolved into the early foundations of parapsychology. The Society for Psychical Research (SPR, which still exists today) sought to investigate the claims of spiritualists. Through their research, they debunked many fraudulent mediums, which were rampant during a time when people wanted to know what had happened to their loved ones in the war.
During the 1920s, there was also a growing interest in the traditions of Ancient Egypt. In 1922, British archaeologist Howard Carter discovered the tomb of the pharoah Tutankhamun and "Tut-mania" took hold of the Western world. Fashion of the 1920s heavily featured scarab beetles, gold accents, and even hieroglyphics printed or embroidered onto various accessories and garments. Along with this interest in "desert garb" came rumors of curses and cursed objects. Tales of unfortunate endings for those who visited Tut's tomb swirled around parties. The Curse of the Pharaohs is believed to fall on anyone who disturbs the mummy of an Egyptian high-born person (especially pharaohs) and it does so indiscriminately, regardless of whether the intent was research or thievery. Several members of Carter's team died shortly after Tut's tomb was opened, adding fuel to the fire.
Finally, the first half of the 20th century saw the rise and fall of various occult and esoteric organizations, and the birth of many neo-pagan religions that still exist today. During the 1910s, Aleister Crowley began laying out the structure for Thelema and was a leader within the Ordo Templi Orientis (O.T.O.), which I was very intrigued to find out has a group here in San Antonio. The Law of Thelema was formally documented in "The Book of the Law," which was published in 1904. Gerald Gardner, considered the "Father of Wicca," began formulating the foundations of his new religion in the late 1930s and through the 1940s. And Victor Anderson, founder of the Feri tradition, was also initiated into witchcraft practice during this time. It should also be noted that Rosicrucianism was very popular during this time period and several well-known writers and poets were members of the Hermetic Order of the Golden Dawn, to include Bram Stoker, Sir Arthur Conan Doyle, and William Butler Yeats. Like the Mafia, secret societies like The Order of the Golden Dawn feature heavily as the big baddies in dieselpunk fiction that take on a more magical bent.
That's all for today. Some suggestions for dieselpunk media that encapsulates the use of occult influence within the genre are the Indiana Jones movies (because cursed objects belong in a museum!), "The Adventures of the 19XX" series by Paul Roman Martinez, "Small Town Witch: Love & Wonder" by Alex Singer and Jayd Ait-Kaci, and the works of H.P. Lovecraft.
We're going to start the month off on a high note with some electro-swing. This particular tune is a favorite when me and my 3-year-old have one of our private dance parties. For those who may not be hip to the lingo, a "lone digger" is when you're out with a group of friends and you're the only one who is digging the music. Or you're the only one dancing. This song is an invitation to - go ahead - be that lone digger and enjoy yourself. Who cares what anyone things? Those losers just ain't no fun. The meaning makes a little more sense when you see the video. It's animated, with nightclub neon coloring. It revolves around a strip club but all the characters are non-human animals. The viewer watches three young tom cats walk in, wearing the classic letterman jacket, ready to make some trouble. And they do. A fight ensues and by the end of it, everyone in the strip club is dead. Well, except the stripper, who just keeps on dancing while chaos erupts around her. She's the lone digger.
Hey, brother, what you thinking?
Leave that old record spinning
You feel the rhythm, going
(They call it lonely digging)
Let's end your time to lay low
Your knees a-bending, so
It's time to get up and let go
(You're gonna come undone)
Since the video for this song is so visual, I've decided to focus on a visual medium that was very popular during The Great War Era: Pin-Up Art. I have a few favorite artists from the The Golden Age of Pin-Ups, which was from roughly the 1930s to the early 1950s, but there's tons of other work from the period to check out. When it comes to pin-up art, it's important to be aware that one of it's primary uses was for American propaganda during World War II and was an essential element of the morale effort. Calendars with pin-up artwork were sold to servicemen and they were encouraged to post them in their barracks by Roosevelt's War Advertising Council. Even after the war, it was prominently featured in magazines such as "Life" and "Time." The decline in the artform began when nude photographs of real women became readily available in magazines like "Playbook." However, with modern artists embracing the style, pin-up has made a comeback and originals by the artists named below now go for a small fortune.
Gil Elvgren
Gil Elvgren's initially worked for Louis F. Dow, a leading publishing company at the time, where he produced dozens of works. Since this was during WWII, much of the work he created during his time at Dow was recreated as nose art on American aircraft. Eventually, he moved on to Brown & Bigelow, a publishing company credited with popularizing the pin-up form. He was active until the 1970s.
"Hold Everything"
Gil Elvgren
Alberto Vargas
Alberto Vargas may be considered one of the most famous painters from The Golden Age. He was a Peruvian painter who studied in Europe up until World War I, when he moved to New York. His earliest work began with the Ziegfield Follies, an elaborate theatrical revue based on the Parisian Folie Bergere, a French cabaret famous for its beautiful chorus girls. He also did work for many Hollywood movie studios, producing movie posters. His most well-know poster was for "The Sin of Nora Moran," which is considered one of the greatest film posters of all time. During WWII, he went to work for Esquire. He produced over 180 paintings during his time with the magazine, many of which featured the iconic "Varga Girls." He eventually moved onto Playboy, where he continued producing his signature works until the 1970s.
"The Sin of Nora Moran" Film Poster
Alberto Vargas
Zoe Mozert
Zoe Mozert (nee Alice Moser) is probably the most well-known female pin-up artist from The Golden Age. While in art school, she made money by modeling for other artists. This had its benefits. She often posed for her own paintings, using cameras and mirrors, and is said to have enjoyed working topless. Like Vargas, Mozert's work was often featured for film posters and promotions. She also worked for Brown & Bigelow during the 1940s, during the same time Gil Elvgren was with the company. Her work was known for the soft color palette and realistic depictions of women, and much of her work was commissioned by magazines of the era.
"The Outlaw" Film Poster
Zoe Mozert
Modern Artists
As I mentioned, there are several artists keeping the style alive today. Chief among these is Olivia De Berardinis, whose work has been featured in Playboy since 1985. Her artwork often features pop culture, such as comic book superheroes and cult film characters like Elvira. However, most people are probably familiar with her beautiful depictions of Bettie Page.
Bettie Page
Olivia De Berardinis
Another contemporary favorite of mine is Art Lucia, who created the DC bombshells series. I have his "Rockabilly Black Canary" as my laptop background because it's my favorite but all the prints in this series are phenomenal.
Catwoman
Art Lucia
Black Canary
Art Lucia
Wonder Woman
Art Lucia
The last artist I'll end with is Luma Rouge, whose artwork actually calls back to the pin-up style's origins with Toulouse Lautrec and the Moulin Rouge. (I also geek out hard over La Belle Epoque, as well, but maybe that's for another month.) Similar to Lautrec, you'll find Luma Rouge hanging out in the dressing rooms of burlesque shows, furiously drawing the dancers in between performances.
"Burlesque"
Luma Rouge
Thanks for reading! Hope you enjoyed the pictures! The weird animal strip club video for "Lone Digger" is below.
As I said before, the last month has been rough on me. Not just because of all the shadow work, but also all sorts of chaos being unleashed in both my personal and professional life. But we're getting close to Summer now, which I've always considered to be "my season." As far as I'm considered, June and July are mine, because my Sun is in Cancer and my Rising is in Gemini. Also, I was born in California and all California girls are perpetually awaiting summertime. Since June is the start of my season - and Gemini placements have diverse and varied interests - I've decided to focus on one of my passions that I don't really take the opportunity to showcase. Retro-Futurism.
For the uninitiated, retro-futurism is the creative movement that places modern and futuristic elements within a past era. My preferred aesthetic is Dieselpunk, which takes place during the Great War Era. This falls between World War I and World War II, roughly from 1920 through 1945. However, because of this placement, it naturally blends with the earlier period that comprises Steampunk and the post-war era that becomes Atompunk. Although my primary focus this month will be on the elements that make up Dieselpunk, I may dip into other retro-futuristic aesthetics as the mood strikes me.
So what does that mean for June? Well, be prepared for a lot of electro-swing, big band, some chap hop, rockabilly, horrorbilly (basically all the "billys"), and a healthy dose of my favorite band for vintage re-imagining, Postmodern Jukebox. Additionally, I plan to explore different elements of retro-futurism and how they are used in their respective aesthetic. Naturally, this will include sharing some of my favorite retro-futurist artwork and resources, as well as other Dieselpunk things I've collected over the years.
