Grace Jones and the empty “intellectualism” of Pitchfork contributors

An otherwise entertaining article on queer identity and Grace Jones spoiled by the interjections of various brats at the bottom. In particular, the string of empty signifiers that make up Eric Shorey’s take on Jones’s version of Warm Leatherette is typical of the sort of empty, self-entitled, faux-intellectualism that Pitchfork loves to indulge in:

“In Jones’ hands, the song becomes a sassy tribute to the pleasures of ultraviolence, queering the original text from a self-serious and mega-ironic love poem into a campy exploration of black female sexual identity. By subverting the tropes of white, male, anglo sci-fi, Jones turned the Ballardian porno-nightmare into a celebration of perversion via the intersection of technology and sexuality”

How? Why? the reader is left asking. Oh, I see, because you say so…

Indeed, more than anything, the reader comes away with the impression that the writer seems not to have read, or has failed to understand, Ballard’s source novel.

Bridget Brophy

A nice piece about Bridget Brophy here. About time too. Flesh is a fantastic book. I see there is going to be a conference as well.


Oh, how did I miss this. One of Ann Quin’s short stories can be found here.

Reverse Colonisation, Dubious Parentage and Refusal of Closure in Dracula

Given my rather lackadaisical approach to this blog it’s probably no surprise that I forgot to mention that I had an article published in the first issue of online journal Albeit.


The D.A.F sex machine

Hmm, I’m thinking of writing a post on the DAF ‘sex machine’…

Particularly in lieu of the 1985(ish), more explicitly ‘camp’ version of the group…

For Every Wolf That Roams

Huggy Bear’s super rare 1994 live cassette For Every Wolf That Roams features, as I was reminded just the other day, the very best version of Pansy Twist ever.

Origin and Destiny in Mildred Pierce

The Ranald MacDougall authored screenplay of Mildred Pierce diverges from the 1946 Joan Crawford film in its underscoring of class. The Mildred of the screenplay lacks the glamour and sophistication of Joan Crawford, and it is the lack of these very qualities that inform Veda’s hatred. Veda makes this hatred blatantly apparent in scene 260, with the words: “You still don’t understand, do you? You think new curtains are enough to make me happy. […] No. I want more than that …  I want the kind of life that Monte taught me. And you won’t give it to me. The way you live isn’t good enough for me” (MacDougall 211-212). The point is that Mildred of the screenplay cannot give Veda the kind of life that she wants because it is not predicated on material goods and consumerism, but on social standing and the entitlement that come from having been born into money. It is simply not possible to work one’s way up the social ladder in this reality, something that Veda underscores further with the words: “You think now you’ve made a little money you can get yourself a new hairdo and some expensive clothes and turn yourself into a lady, but you can’t, because you’ll never be anything but a common frump, whose father lived over a grocery store and whose mother took in washing” (MacDougall 201). In MacDougall’s screenplay, origin is destiny. The film, however, effaces this reading. The Pierce family of the film are positioned on a higher-rung of the class ladder in the first place and thus, for them, there is less at stake and less of a schism between where they start the film and where they end up. 


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