THREE SCORES by Christopher L. Costabile


Language Score # 1: "Play for Someone," for solo guitar


1.  Find a guitar and choose one of the six strings.

2.  Find a current phone book and turn to a random page, selecting a random phone number on that page.

3.  Call the number and wait until someone on the other end of the line answers, or it is picked up by an answering machine, then tell the person or machine on the other end of the line, "I'm going to play for you."

4.  Play the frets on your chosen string which correspond to the numbers in the phone number you selected, from left to right, in any rhythm and at any speed.

5.  Choose to either say "goodbye" to the person on the line, or have a conversation with them.  The piece ends when the connection on the line is terminated.


LANGUAGE SCORE # 2: "ONE OR TWO WAYS OF HEADING HOME"

1.  Using chalk on a chalkboard, calculate the number of days you have been alive, remembering to account for leap years.

2.  Take the street number of your address and subtract it from the number of days you have been alive.

3.  If the new number is positive, draw this many new lines on the chalkboard as quickly or as slowly as you like, making the lines any length you desire.  The piece is over either when all of the lines have been drawn or when the performer runs out of chalk.

4.  If the new number is negative, bow to the audience, as the piece is now over for them, and proceed to take this many steps in the direction of your residence.  Once the number of steps has been fulfilled, you may choose either to return to the performance space for the remainder of the concert, or to continue walking, without the assistance of any vehicles, until you have reached home.


GRAPHIC SCORE # 9: "THE PERSISTENCE OF MELODY #2," FOR ANY INSTRUMENT


1.  Using black chalk, outline a rectangular surface on the ground, approximately 5 feet by 2 feet.  Within this space, draw the treble clef and the five lines of the music staff.  Also, draw a whole note rest at the very center of the staff.

2.  Find two stands of any material, 3 to 4 feet tall each, and set them at either end of the music staff.  Across these stands, lay two long, thin metal bars, parallel, approximately 10 inches apart.

3.  Find between 10 and 20 pages of music scores by Beethoven, Mozart, and any other non-living classical music composer(s) of your desire, and lay them perpendicular across the metal bars so that they are secure, but in danger of falling through the bars, onto the ground.

4.  Light all of the music scores on fire.  They will crumble into black, fiery balls of paper and fall to the ground inside of the music staff, forming a melody.

5.  Play the melody on any instrument, making sure to pause at the whole note rest, in honor of all the dead composers who have created this new melody together.


NEW WORLD SODOM: BIBLICAL TALES OF CONQUEST AND ACCULTURATION by Phil Hawkins

 

      “I saw a devilish thing” recalled Alvar Nuñez Cabeza de Vaca: “I saw a man married to another man.” One was typical and less noteworthy, but the other was “covered like [the] women” and performed “the work of women.”1 In the anthropological idiom, these biological men, who assumed the social roles of females, were berdaches. In the Spanish vernacular, they were sodomitas. This was not a casual word choice. By evoking the Biblical destruction of Sodom and Gomorrah, conquistadors hoped to justify their paths of destruction in the Americas, which they fashioned as a New World Sodom. By the time that native voices entered the records, acculturation was well underway, and given the high stakes of sodomy accusations, natives had little interest in or ability to articulate a pre-contact worldview. On the contrary, they symbolically sacrificed the berdache before the newcomers. The following will outline the mythical invention and destruction of New World Sodom at the hands of Spaniards and natives.

THE BERDACHE DEBATE


      The following admittedly trespasses on a previously trekked landscape. The premier scholar on the sixteenth-century berdache, the late Richard C. Trexler, argued that Native American warriors gendered their enemies as feminine in ways that surpassed mere rhetoric: they captured men from the battlefield, turned them into women, and raped them. This militaristic tradition bled into the domestic sphere and inspired the homegrown berdache phenomenon, in which coercion, rape, and child abuse were defining features.2 According to Trexler: “Based on the absence of evidence alone, we would have to characterize the existence of berdaches as a degraded one.”3

      Although evidence-driven, Trexler often treated European representations as ethnographic reality.4 According to Will Roscoe, Trexler’s positions “depend upon a literal reading of the texts of European conquerors and missionaries.”5 Roscoe suggested: “A more careful approach would begin by asking why this information was collected and written down, and what discourse (and rules of discourse) was it apart of.”6 In the face of such criticism, Trexler replied: “one marvels at the naiveté of the notion that the Spaniards referred to the berdache so often merely because “the conquerors were collecting evidence to justify their conquest.”7 To think otherwise, claimed Trexler, is to be “unfamiliar with the primary sources,” and “there is no alternative to the use of these European records.”8 Without entirely dismissing the theory of social construction, the following seriously questions the ability and will of anyone in the sixteenth-century to articulate a pre-Hispanic social reality.

“THEIR SIN SO GRAVE”


      Michel Foucault argued that Europeans exhibited a “nearly universal reticence” to discuss sodomy.9 To Foucault, the scientific and legalistic discourses of sodomy and sexuality were interesting, not scriptural interpretations. True, Europeans were reluctant to speak of sodomy, but only among their own people. In theory, sodomy was a foreign and contagious custom carried by the proverbial other. Unsurprisingly, sixteenth-century Iberians convicted a significant number of Italian immigrants, Muslims, and Jews for sodomy, while rarely acknowledging homegrown practices.10

      At the heart of this paper is the notion of New World Sodom: a sixteenth-century Iberian representational strategy that likened the natives of the New World to the inhabitants of Sodom and Gomorrah. According to Genesis 18-19, the Lord said: “The outcry against Sodom and Gomorrah is so great, and their sin so grave” that the Lord sent two angels to investigate if the rumors were true. If there were less than ten decent people, the Lord would destroy the two cities. While staying at Lot’s house, every man in Sodom, “to the last man,” gathered outside demanding: “Where are the men who came to your house tonight? Bring them out to us so that we may have intimacies with them.” Lot refused, and the Sodomites decided to seize the angels. As they broke down the door, the angels blinded the intruders while Lot and his family escaped. The angelic reconnaissance confirmed the outcry: Sodom and Gomorrah were unredeemable. The wicked cities even infected some of Lot’s in-laws, who refused to join the escapees. After their departure, the Lord “rained down sulfurous fire upon Sodom and Gomorrah.” The following morning, Abraham examined the scene and saw a dense smoke over the land rising like fumes from a furnace.”11

      Christians often molded their reports of New World sodomy to resemble the biblical tale of Sodom and Gomorrah, where the Lord’s messengers could not even find ten descent people. When Spaniards declared that “they are all sodomites,” “sodomites more than any other race,” who “take great pride in it,” the message was clear.12 In the words of Juan Ginés de Sepúlveda, “due to the sin of nefarious intercourse fell from heaven fire and brimstone and destroyed Sodom and Gomorrah.” To Sepúlveda, Europeans should fulfill the role of the Lord, because “it is not only lawful to subject them to our dominion…but they can be punished with even more severe war.”13 Of course, destruction was in the natives’ best interests. According to Francisco López de Gómara, “the Indians benefit from the Conquest” because “there is no longer sodomy, [the] hateful sin.”14


REDISCOVERING SODOM

      New World Sodom was not monolithic, but we should be hesitant to interpret the differences as regional variations. Quite often, different representational strategies, including the expediencies of conquest, cultural assumptions, and rules of discourse, shaped what appears to be regional variation. Of the rules, there was only one: Spaniards were not allies with sodomites or at least they were reluctant to admit it. Since New World Sodom existed beyond the pale of Spanish colonization, conquistadors could report the most fantastic tales of debauchery with relative ease. As such, the following puts little stock into finer distinctions between sixteenth-century history (historia) writing and story (historia) telling.

      Europeans constructed New World Sodom not long after reaching the Islands of the Caribbean. In 1495, Michele de Cuneo, the first documented rapist in the New World, reported that both the good “Indians” and the man-eating Caribs were “largely sodomites,” and they practiced that vice as if they were unaware of its sinfulness. Yet, in the Christian mind, there were clear distinctions. According to Cuneo: “We have judged” that the spiteful Caribs “may also have committed that extreme offence” with their male captives, by which this sin “may have been transmitted” like a contagious disease from Carib to Indian.15 Doctor Chanca, who participated on the same voyage, told a fantastic tale that appeared to confirm European assumptions. According to Chanca, the Caribs captured Indian boys, castrated them like farm chickens, and “used them” [sirvense] for years until they ripened at adulthood. Then, “when they want to make a feast, they kill and eat them, for they say that the flesh of boys and women is not good to eat.” Chanca claimed to have seen three of these eunuchs.16

      In an age where cannibal reports are highly suspect, this tale of eunuch eaters deserves special scrutiny. Although the reports of Cuneo and Chanca were similar, the devil is in the details. Consider the order of events. Chanca’s 1494 report provided alleged eyewitness testimony the eunuch-eating custom, but Cuneo’s 1495 report admitted collective inference: “we have judged.” Furthermore, Cuneo contradicted Chanca by insisting that the Caribs had no taboo against eating the flesh of boys, only women.17 Most importantly of all, Chanca stands alone and unverified. No one else ever recorded the custom of eunuch eating. Instead, Europeans began talking about the berdache, who was often misrepresented as a eunuch. Despite these red flags, Trexler used Chanca’s report to build his overarching thesis that all across America native warriors turned their prisoners of war into sex slaves, who became the basis for the berdache tradition.18

      In this first image of New World Sodom, we see the beginnings of the rules of discourse that disassociated Spanish allies from sodomy. The Spaniards assumed that the Caribs infected the “good” Indians with the vice, then they stopped talking about the vice among the “good” ones. While Cuneo’s report of sat in a private collection, the Caribs remained, in the words of Father Tomás Ortiz, “sodomites more than any other race.”19 Most importantly, nobody challenged that assessment. The Caribs were unredeemable. On the other hand, when Gonzalo Fernandez de Oviedo broke the silence about sodomy among the “good” Indians of Hispaniola, Bartolomé de Las Casas accused Oviedo of writing a “false history” filled with “great lies told about these people,” especially for “saying they were all sodomites.” Las Casas discredited Oviedo as untrustworthy, because Oviedo, the supervisor of gold smelting, had “thrown many of them into mines, where they died, and was thus their cruel enemy.”20 The friar’s complaints, along with a changing attitude among the Council of Indies, led to a prohibition of later works detailing widespread sodomy among the “good” Indians.21

      Although charges of sodomy bolstered their claims, Europeans justified their conquest of the Caribs primarily because of their alleged cannibalism. When Spaniards began colonizing the Tierra Firme, charges of sodomy began to take center stage. In 1513, Vasco Nuñez de Balboa’s men butchered hundreds of Panama natives, including King Quareque, “like brute beasts,” for having the audacity to order their expedition to halt. When the army reached Quarequa’s village, the only men in town were the king’s brother, by then the new king, and a number of berdaches, who generally did not participate in war. The Spaniards identified these “young men in women’s apparel, smooth and effeminately decked” as sexual tools and accused the new king of having “abused with preposterous Venus.” In the name of God, Nuñez de Balboa threw forty sodomites to his war dogs.

      The native response to this massacre was fantastic: they were overjoyed and ran to the Spaniards as if they were demigods on par with Hercules. “Lifting up their hands and eyes towards heaven,” the natives “gave tokens that god was grievously offended with such vile deeds.” They thanked the conquistadors for wiping out their royal bloodline, because “this stinking abomination had not yet entered among the people, but was exercised only by the noblemen and gentlemen.” They also begged the Europeans to exterminate the remaining sodomites, who the natives blamed for all of their woes.22 Perhaps Nuñez de Balboa invented this story to justify his actions. Who could accuse him of barbarism when everyone, including his victims, approved of his harsh measures?23 Historian Ward Stavig suggested that natives may have responded in such a way out of fear. 24 Whether invention or theatrics, Nuñez de Balboa’s report remains highly problematic.

      The Council of Indies’ official historian, Peter Martyr d’ Anghiera, first put the Panama tale into print. When the king appointed Oviedo as an official historian, Oviedo took Martyr’s account and elaborated on it. Oviedo surmised: “The Indian chiefs and lords publicly have boys with whom they commit this damnable sin. As soon as the boys begin this practice they put on the short cotton skirt of the Indian women.”25 Far from a genuine cultural exchange, Oviedo explained this cultural phenomenon by an inference that clearly justified conquest. In one of Trexler’s more enlightened moments, he recognized correctly that “transvestitism was not a just title of conquest,” but sodomy “did bestow a right to conquer, if it could be demonstrated that it was widespread and tolerated by the indigenous civil authority.”26 Such a realization did not stop Trexler from using Oviedo’s elaboration of Martyr to argue that “the more characteristic reality” in most American societies was that “their lords first raped these boys and then ‘punished’ them, at least in Christian eyes, by dressing them as women.”27

      As Cortés’s army marched through Mexico, Spaniards “learnt and been informed for sure” that the natives were “all sodomites.”28 Bernal Díaz del Castillo recalled that “we warned every town through which we passed: against wickedness and human sacrifice, and the worship of idols, and eating their neighbors’ flesh, and sodomy.”29 When talking to the Cempoala natives, Cortés demanded that they “must give up sodomy, for they had boys dressed as women.”30 Unlike the Tierra Firme, the chiefs were not the culprits. On the contrary, they expressed that “measures would be taken to see that the practice was stopped.”31 Perhaps it was coincidental that the chiefs were Cortés’s military allies, and the rules of discourse forbid such associations. As a general rule, the Spaniards were not friends with sodomites. For instance, once Moctezuma became an ally, Spaniards deemed him free of sodomy.32 Mexican religious leaders, on the other hand, were expendable. Spaniards described them as peculiar men wearing black robes with their “ears cut to pieces as a sacrifice.” They wore their hair “very long, down to their waists, and some even down to their feet.” When Cortés ordered his men to give four native priests white robes and haircuts, they found the priests’ hair was “so clotted and matted with blood that it could not be pulled apart.” The priests were unclean and “smelt of sulfur” and something worse: of decaying flesh.”33 On top of it all, they had “no wives, but indulged in the foul practice of sodomy.”34 Coincidentally or not, that was the day Cortés ordered his men to smash the Mexican religious “idols.”35 For Trexler, the context of this content, that is the besmirching of Mexican religious leaders, did not matter much. He insisted that berdaches were symbols of tribal power, and they were created to be “anally raped” by such priests, just as they raped by the tribal chiefs in the Tierra Firme.36

      As the wheels of conquest moved northwards, it was the same story all over again. Pedro Castañeda, a chronicler of the Coronado expedition into North America, labeled the “more barbarous” Pacaxes as “great sodomites.” They, along with their cannibal neighbors, the Acaxes, were “very hard to subdue.”37 Nevertheless, Castañeda announced that their friends, the Zuni, had “no drunkenness among them, nor sodomy, nor sacrifices, neither do they eat human flesh or steal.”38 American ethnographers found numerous Zuni berdaches, including history’s most famous berdache, We’wha.39 Perhaps the Zuni scorned the berdache in 1540 and later became indifferent, but the more probable explanation was that Castañeda would not represent the Zuni as sodomites, because they were allies. Instead, he chose to label those hostile Indians as ridden with sodomy. Such were the rules of discourse.

“NO MEMORY SHOULD REMAIN”


      Jean Paul Sartre once told a parable of a voyeur peering through a keyhole, who suddenly heard footsteps behind him. Without even turning around, the voyeur felt an instant wave of shame.40 In the New World, Spanish missionaries needed to teach the natives to feel instantaneous shame about sodomy. The Provisional Council of Lima went to great lengths to compile and translate into indigenous languages a number of stock sermons. One sermon warned that “if there is anyone among you who commits sodomy, let them be known that because of that fire and brimstone fell from heaven and burnt the fine cities of Sodom and Gomorrah and left them in ashes.” The Catholics announced that “the reason God has allowed that you the Indians should be so afflicted and vexed by other nations is because of this vice.” The Council also informed the natives that in the new order of things sodomy carried “the death penalty under the just laws of our Spanish king.”41

      According to Serge Gruzinski, Indians in the post-conquest world “forged new identities, invented memories, and set up a space for themselves in the midst of the surounding colonial society.”42 Part of this process involved symbolically sacrificing the berdache and burning New World Sodom. Perhaps born out of political expediency, these new memories were tantamount to the colonization of the pre-Hispanic past, but this did not happen overnight.43 There was a fascinating period when the old and new stories coexisted and intermingled. For instance, one investigator noted the multiplicity of accounts in the Collas province of Peru, where “some witnesses say that they were punished and other that they were not.”44 Antonio de Herrera found the same: “Though some people say in Mexico that those who committed the nefarious sin were put to death, others say that they did not pay attention to it for punishment.”45 Over time, this multiplicity shrunk as acculturated tales of harsh punishment, along the lines of Leviticus and sixteenth-century European customs, became the dominant narrative. By the seventeenth century, many acculturated natives insisted they squashed the sin more ruthlessly than their Christian rulers ever did.

      When Europeans questioned the Aztecs about their ancient laws, native responses contradicted the accounts of their conquistadors, who tended to find sodomy everywhere. According to Las Casas, there was some confusion about Mexican laws, because a few “not entirely authentic” documents were circulating in the form of “an unauthorized small Indian book.” Nevertheless, Las Casas assured his readers that “those which follow are all held authentic and true.” In ancient times, the Mexicans “hanged those who committed the abominable sin, and also those who dressed like women.”46 In Sahagún’s Florentine Codex, Aztec artists drew a two-captioned picture that portrayed tow men conversing around the symbol of love and lust: the flower. The second caption depicted one of the men consumed by flames. The accompanying text identified “the Sodomite” as “womanish, playing the part of a woman, he merits being committed to flames, burned, consumed by fire, he burns.”47 The active partner apparently went unpunished. By the seventeenth century, Fernando de Alva Ixtlilxochitl, an acculturated native of Texcoco, described how “the nefarious sin was punished in two ways” depending on the active or passive role. They took the “one acting as a female” and “removed his entrails from the bottom.” He was “tied down to a log” and buried with ash. Then they would “put a lot of wood and burn him.” The active partner was “covered with ash, tied down to a log until he died.”48 This mimicry flattered Europeans. According to Leviticus 20, “if a man lies with a male as with a woman, both of them shall be put to death for their abominable deed.” In 1607, Gregorio García pointed out that “the Indians of New Spain kept this law, without missing one point, and they executed it with great severity.”49 To García, this was clear evidence that the natives of America were from the Lost Tribe of Israel.50

      Despite the pattern of inconsistencies, natives of the former Aztec empire were consistent on one point: they executed berdaches in ancient days. Alfredo López Austin, Clark Taylor, and Noemí Quezada saw these tales as reliable pre-Columbian memories, but what if they were invented memories?51 After all, the former Aztec region was the most acculturated in Central Mexico.52 They were better prepared to master and naturalize the post-conquest script. This point becomes clearer when we turn to another people, the Tlaxcaltecs, who were not subject to the Aztecs at the time of conquest. According to the mestizo historian Diego Muñoz Camargo, “they considered [sodomy] as a great abomination, the nefarious sin, and the sodomites were despised.” Nevertheless, “they did not punish them.”53 By the seventeenth century, natives had learned the script: “Sodomy was punished by death” in pre-contact Tlaxcala, “although practiced in other Provinces.”54

      In Peru, mid-century historians remarked the that Inca were free of sodomy, and they “despised those who used it, looking down on them as vile and contemptible for glorying in such filth.”55 Although most authors proclaimed that the Inca severely punished sodomites, the earliest historians only alluded that the Inca had the culprits “pointed out and known to all.”56 Even Cieza, who described the Incas as “absolute rulers who had to account to nobody for what they did,” admitted that the Inca “overlooked certain things…so that they would not be disliked.”57 Later historians, especially acculturated Incas and mestizos, no longer mentioned that the Inca “overlooked certain things.” In the early seventeenth century, Garcilasso de la Vega, the son of a conquistador and Inca princess, told ancient tales of severe anti-sodomy imperialism. Long ago, the Inca general, Augui Titu, “ordered that a careful search was to be made for the sodomites and when found they were to be burnt alive in the public square, not only those found guilty, but also those indicted by circumstantial evidence, however slight.” If one person committed the sin, the Inca would “destroy the whole town, and burn all the inhabitants.” Their houses were “burnt and pulled down.” Even the trees growing by their homes were “burnt and pulled up by the roots.” Al this was a symbolic act “so that no memory should remain of such an abominable thing.”58

      Today’s scholars were not the first to recognize intertexuality. Cornelius de Pauw argued that “all this he [Garcilasso] mentions about penalties reserved for those found guilty, are without any doubt a great fiction.” He accused Garcilasso of borrowing the custom from Roman law and giving it to the Peruvians, who never punished the act. He argued: “If the Inca empire had the men being burnt after the slightest evidence, this empire could have never survived ten years.”59 True, but the important point was that Peruvians had naturalized Leviticus 20.

      The above has highlighted the complexity of native storytelling, in which past and present were in a continuous dialog. Once natives understood that Spaniards linked New World Sodom to conquest, they set out to destroy it with stories miming those of their conquerors. In mid-century, the Inca destroyed New World Sodom in an ironically acculturated way. As the story went, long ago an all-male group of giants sailed from faraway on large cane rafts. These newcomers looked “deformed and ugly,” but the natives did not give them much thought, because they did not believe that they would stay for long. This assumption proved incorrect. The giants dug the earth, and they devoured the region’s food supplies. After the giants captured the native leader, Otoya, the native people became “confused and frightened.”60 In the midst of this chaos, the giants “oppressed the land and became masters of everything.”61 Since the newcomers did not bring any of their own women, they raped many native women.62 The Indians often gathered to discuss how to get rid of the giants, but “they never dared risk it.”63 Suddenly a miracle happened. According to their ancestors, “Our Lord God” sent down an angel with a sword of fire to destroy the giants for their monstrous sins.64 In a single blow, “the fire consumed them.” All that was left were their large bones still found in the countryside today. The people were free “from such toil,” and it was a time for celebration. Unfortunately, the Inca were left “without their head to govern them, because Otoya died in prison.”65 There was no turning back the clock.

      This tale was told, retold, and discussed by numerous Spaniards, who were flattered by the imitation, because it confirmed their own sacred tale. In the words of Agustin de Zárate, “It is thought among the Spaniards to be true” that the giants were “much inclined to the vice against nature, the divine justice removed them from the earth sending an angel to this purpose as it happened in Sodom and other places.”66 Nevertheless, underneath this fascination, some Spaniards were apprehensive. Pedro Cieza de León, the first to put this tale on paper, worried that he and his countrymen might be the giants, but the natives “affirmed that they had no beards.”67 This was a satisfactory answer. Nevertheless, if natives accused the Spaniards of sodomy and suggested that God might destroy the newcomers for their sins, they internalized the tale of Sodom and Gomorrah. The main difference was that in the Biblical tale the natives were the sodomites. In the Inca’s tale, the newcomers were the sodomites. 

CONCLUSION


      While traveling in Cuba, Las Casas saw an elderly berdache in the distance, perhaps the last one on the island. He could have approached he berdache to learn the “truth” of the tradition, but chose “not to investigate it.”68 In the end, the sixteenth-century berdache was a faceless and nameless product of the Old World imagination: one that nearly everyone had an interest in misrepresenting. This paper has outlined how the contexts of these tales were more important than their content. The real tragedy is that scholars uncritically use these tainted documents as windows into the pre-Columbian mind. This paper problemitizes such an enterprise, but does not dismiss it entirely. Perhaps with new and critical methodologies, scholars could salvage aspects of the sixteenth-century berdache tradition, but until then, all we have at face value are tales of conquest and acculturation revolving around the image of New World Sodom.

The Postwar Avant-Garde and the Search for American Authenticity: Part II by P. Jones


Rock’n Roll and the Convolution of Authenticity
    
When it comes to music, the debate over authenticity is endless.  As Griel Marcus has noted, a musicologist, when confronted with the claim that a particular musical style seemingly developed out of nowhere, can always point to an antecedent.  Nevertheless, rock’n roll and the culture it created seemed to come out of nowhere.
     
The precursors to rock’n roll were the blues of Black musicians and a style of country played by whites.  Lyrically, both styles reflected the dominate artistic mode of the prewar decades, realism.  And just as realism best expressed the desperation of the Depression, it too proved the only voice capable of expressing the Black experience in America—an experience that, repackaged in the postwar revolt against realism, became the spirit of rock’n roll.
    
Since the 1920s Black intellectuals had observed that the only truly American artistic creations—ragtime, spirituals, and jazz, among others—were produced by Blacks.  Thus it is no surprise that the first rock’n roller was, according to Marcus, Robert Johnson, a Black country blues singer and guitarist from Mississippi.  Johnson’s music embodied much of what became so popular and, indeed, so controversial about rock’n roll: sex, sin, and a touch of soul.  Beyond the three S’s, Johnson articulated a feeling that every American at once feels and rejects—failure.   

The myth of American Dream, inextricably linked to the notion of American exceptionalism, runs deep in the United States, and much like capitalism, seems only to strengthen with every challenge to its ideological hegemony.  But for Black Americans the idea of exceptionalism does not hold the same weight.  Exceptionalism, if it existed at all, came at the cost of their sweat and blood, of their citizenship, and their personal autonomy.  In his remarkable study of the ironies of American history, C. Vann Woodward overlooked the twentieth century’s ultimate irony—that Black culture was as American as it gets; that within Black culture were the tools, the language, capable of describing what every American felt but had no way of expressing.  Marcus put his finger on it when he said, “To be an American is to feel the promise as a birthright, and to feel alone and haunted when the promise fails. No failure in America, whether of love or money, is ever simple; it is always a kind of betrayal, of a mass of shadowy, shared hopes”.
    
Johnson’s country blues became the template for what eventually emerged as rock’n roll.  The “founder” of rock’n roll, Sam Phillips, knew what he was looking for in the 1950s when he got bored with what he heard emanating from his speakers.  He was looking for a white man who could channel and produce the nuances of Black blues and rockabilly.  But even more, the fatalism of Black blues and white country was merely a reflection of the status quo.  Phillips wanted something new.  “Gimme something different, gimme something unique,” he told Harmoinica Frank, the first musician Phillips hoped would usher in a new musical style. And although Frank embodied much of what made rock’n roll so popular later, he did not channel the groove of Black music.  And here, of course, is the root of yet more irony.
    
Phillips eventually found what he was looking for in Elvis Presley.  Elvis had the looks and the voice.  He had the producer and the producer had the songs.  White radio stations were reluctant if not downright resistant to play “Black” styles of music sung and played by Blacks.  But when Elvis took on the dirty Blues, he, despite the shockwaves he sent down the spine of suburban parents, embodied a certain type of authenticity.  An ironic type of authenticity.  The music was American.  For mainstream popular culture, however, at least initially, rock’n roll could only be American if it was sung and played by white people.  Instead of acknowledging the creative genius of Black Americans, white culture simply expropriated the style.  Rock’n roll became an “authentic” American cultural production.  Its roots were American.  It was sung by Americans. How could it not be American? 
   
Yet the cultural impact of rock’n roll had as much to do with modal theft as with the audience it reached and the milieu in which it was received.  While rock’n roll was very much a form of administered negativity, it created such a buzz, such a stir, because it appeared to threaten the recently sewn fabric of the postwar sociocultural paradigm.  Rock’n roll was dangerous, rebellious, licentious, corrupting. It was absurd.  And it made people feel alive and removed the manacles of conformity. Others followed. Roy Orbison, Jerry Lee Lewis, Bob Dylan.
   
But then Elvis got too big and too famous.  He sang gospel and country songs.  He sang everything.  He became a caricature of himself.  And so did rock’n roll.  Musicians like Dylan and writers like the Beats, turned nonconformity into an aesthetic that could not last.  Appropriation by mainstream popular culture defused the aesthetic’s revolutionary potential, reconfiguring it into a socially acceptable commodity.  Elvis was exposed. The idea of his authenticity had been revealed as another myth.  As Marcus points out, “it is a sure sign that a culture has reached a dead end when it is no longer intrigued by its own myths”. What had seemed to many as scary and subversive had become sanitized and stale by the late 1960s.  Once in the hands of white producers and disc jockeys, the music became the voice of that beautiful American illusion, even if early audiences decried it as the devil’s music.  The apparatuses of the dominant culture had reached out to the margins and pulled rock’n roll into its orbit. 

Ultimately, the fascination with authenticity, whether by artists and intellectuals rejecting the massification of culture or by the appropriation of the avant-garde by the purveyors of kitsch, is a product of the social hierarchies created by capitalism.  The avant-garde, whether consciously or subconsciously crafted, cannot escape the confines of the system in which it was created.  Here, I disagree with Daniel Belgrad’s interpretation of the COS.  Instead of a way out, a force of liberation, the COS is another product of the system it purports to reject.  Like its later incarnations under the paradigm of postmodernism, like the fate of rock’n roll, it is an example of administered negativity.  
     
Even the avant-garde, particularly abstract expressionist art, was a tool if not a product of the capitalist modes of production and consumption.  Abstract expressionism, remember, arose out of Popular Front artists’s disillusionment with Soviet communism and the abandonment of realism.  But as Eva Cockroft shows in her essay “Abstract Expressionism, Weapon of the Cold War,” abstract expressionism served the American state as a form of anticommunist propaganda.   During the Cold War the Museum of Modern Art (MOMA) and the Central Intelligence Agency put on exhibitions of abstract expressionist art throughout the United States, parts of Latin America, and in Europe.  The purpose of these exhibitions was to “‘let it be known especially in Europe that America was not the cultural backwater that the Russians. . . were trying to demonstrate that it was’”. Moreover, the overall apolitical nature of the postwar avant-garde—the separation of art and politics— made art forms like abstract expressionism the perfect tools for selling the world “on the benefits of life and art under capitalism”.  Postwar avant-garde: capitalist abstraction.  Kitsch and popular culture: reification of the avant-garde. The avant-garde and popular culture: two sides of the same capitalist coin.    
     
Of course, the notion of cultural “authenticity” is problematic.  It assumes a lack of dynamism. Yet nothing is static.  If anything, culture is always in the process of becoming, and any attempt to pin it down without attention to change over time limits any explanatory power the culture and its study might have. Authenticity, moreover, refers to an undisputed origin.  And while we can trace rock’n roll to its roots in rockabilly and the blues, those two musical styles have their own origins, too.  Hence, as the above epigraph intones, authenticity is really an illusion.  It springs from our attempts to not only uncover the origins of something, but also from our human tendency to establish temporal boundaries.  In fact, historians and philosophers are probably the most guilty of perpetuating the authenticity illusion.
    
What is more, Belgrad argues for the COS’s ability to challenge popular culture by freeing itself from the influences of corporate capitalism.  But is that really possible?  Is the unconscious mind free from the context in which it develops?  Is it not merely another product of the system of production and consumption?  And what about the audience?  Certainly they are not free from the contextual burdens of capitalism.  Like its progeny, postmodernism, the COS engendered a false threat to the system.  By providing a challenge that the system easily thwarted, it only reinforced the its hegemony.     
    
Similarly, rock’n roll music failed to upend the dominance of popular culture. Instead, mass culture appropriated the music and its creators and its rebellious, nonconformist aesthetic, softened the edges, and sold it for millions of dollars.  And as for authenticity, the fact that rock’n roll originated in the Black experience in America destroys any claim to authenticity.  But, as I mentioned above, the search for authenticity is the wrong cultural project.  Rock’n roll is truly American because it embodies the myths Americans have constructed about themselves from the beginning. In actuality, it is racist, sexist, and above all, capitalistic. Rock’n roll is American because what we believe about it is a lie.    



The Postwar Avant-Garde and the Search for American Authenticity: Part I by P. Jones


    “It is difficult to begin without borrowing.”
            - Henry David Thoreau  
  


   
The fight against the culturally homogenizing effects of industrial capitalism preoccupied many American artists and intellectuals in the first half of the twentieth century.  Caught up in this struggle was a search for an authentic American culture—one that had plagued artists and intellectuals since the earliest days of the republic.  Whether a revolt against Victorian gentility or a rejection of Enlightenment rationality, intellectual and artistic seekers toyed with themes of regional romanticism, socialism and communism, and racial inclusion, among others.  In the 1930s the Great Depression appeared to signal the failure of capitalism. Many of the country’s most creative allied themselves and their work with the promotion of communism and socialism as part of the Popular Front.  The capitalist experiment, it seemed, had failed.  It was time to turn off the radio, take the banjo down from the wall, and return to the porch.  

But the dissolution of the Popular Front and the coming of the Second World War, the horrors of Stalinist Russia, and the resurgence of industrial capitalism under the guise of corporate, bureaucratic liberalism, with its “techniques of information management,” once again left many of the producers of American culture disillusioned and disenchanted.  The myths that had seemed so fragile in the 1930s only strengthened in the postwar decades.  Capitalism had survived. The American way had not only persevered, but appeared to have triumphed.  For many cultural critics, ideological division within the country had ostensibly vanished. An American consensus formed, pervading all aspects of American life.  Moreover, the expansion of the middle class and the rise of mass consumption, the division of the world into a Manichean binary between the United States and the Soviet Union, and the threat of annihilation from an atomic explosion, instilled in Americans a theretofore unprecedented imperative to preserve the American way of life.

A profound, existentialist sense of alienation set in.  Alienation from the self, from an ideal, a deviation from some pre-prescribed normativity, from American fraudulence, reached those marginalized by and left out of the consensus.  At the end of the 1930s, during the Second World War, and in the decades that followed, a new avant-garde alternative to the homogenizing forces of corporate capitalism emerged—that of the culture of spontaneity (COS). With its emphasis on the power of the unconscious mind and the notion of perspective relativity, the COS not only rejected the inutility of realism, but also the dominate form of American culture and its critics.
   
The postwar search for cultural authenticity also manifest itself in the rise of rock’n roll music and rock’n roll musicians.  Initially, rock’n roll made a mockery of mainstream America and challenged audiences to question the values of corporately constructed culture.  Ultimately, however, both rock’n roll and the COS, while serving to undermine mainstream American culture, reinforced its hegemony. 

Postwar Avant-garde


In the eyes of the dominant culture, avant-garde artists were mad.  Abstract expressionism, free jazz, Beat poetry—the work of those starving for a sense of authenticity unavailable in the barren landscapes of mainstream popular culture— attempted to expose the country’s fraudulent character. As far as they were concerned, art, whether literature, poetry, or painting, had become stale and predictable. 

The COS—improvised, often on-the-spot, stream of consciousness artistic production—arose as a response to a style of realism no longer capable of expressing the wartime and postwar cultural and political milieu.  Realism suited the social consciousness of the depression-ravaged 1930s, partly because the economic crisis brought millions of people face-to-face with hunger, poverty, and death.  There was nothing abstract about starvation. Yet disillusionment with the left following the Soviet nonaggression pact with Nazi Germany and the New Deal’s strengthening of American corporate capitalism led artists to experiment with the abstract. 

For poets like William Carlos Williams and Charles Olsen and automatic painters like Matta Echaurren and Wolfgang Paalen, spontaneous composition, writes Daniel Belgrad, “avoided the falsifications introduced by a conscious mind that internalized ideological standards.”  “By offering mediated access to unconscious thought processes,” he adds, “spontaneity provided a vantage point from which to question the culture’s authority and created the potential for authentic communications exploring new forms of human relatedness” ( Belgrad, 29).
 
Spontaneity, moreover, democratized artistic production and consumption.  The artist, even the artist’s unconscious mind, was no longer a dominant referent in a particular piece. Although the author had not officially “died,” she was on her deathbed.  The reader, now more of an interpreter, could allow the seemingly random words or notes or brush strokes to congeal in their own minds.  Art as communist propaganda had destroyed the artist’s/author’s credibility.  The credibility of the interpreter, however, made little difference.
 
The COS’s democratic sensibilities reflected a growing sense of multiculturalism amongst artists and intellectuals.  Free form jazz is the perfect metaphor.  The bass and the drummer lock into a groove.  The other instruments slowly find their voice.  There is space for everyone.  The interplay becomes almost antiphonic, and no one instrument dominates.  Discord, anxious tension, blends into harmony and back again.  Up close no one is on the same page. But with patience the listener recognizes their are no pages and thus no limits.  The infinite number of musical tributaries reflects the multitude of voices.  Soon the musicians are playing off one another unconsciously while maintaining the democratic spirit.  There is no preset point when a guitar player is supposed to run off a chromatic riff.  To the uninitiated, whether the music sounds discordant or mellifluous, it all seems intentional.  And it is. But not in a conscious, calculated way.  It is the unconscious taking over.  Here, as Charles Hartman and Daniel Belgrad have pointed out, open spontaneity “embodies” Mikhael Bakhtin’s concept of heteroglossia.  “Heteroglossia,” explains Belgrad, “describes a situation in which the poet or artist is not represented in the text as a unified self or ‘subject,’ but as a multiplicity of voices or selves representing different orientations and worldviews” (Belgrad 43).  In a way it is a microcosm of American culture at its finest, at its most democratic: the whole is greater than the sum of its parts.   

One of the more important legacies of the postwar COS was its challenge to the dominate forms of cultural criticism.  The COS rejected the Marxist and formalist interpretive models of the proponents of High Culture, such as T.S. Eliot, F.R. Leavis, Northrop Frye, and their like-minded New Critics whom dominated literary and artistic criticism for decades.  Belgrad concludes that Marxist analytical frameworks find “collusion” between the art itself and larger structures that in some way determine form, and that formalism refuses to recognize as significant anything beyond the text.  In fact, the COS was a precursor to postmodernism and its cousin poststructuralism.  The notions of irrationalism, relativity, and fragmentation, important components of spontaneous composition, anticipated the postmodern paradigm.
 
Spontaneous artistic production—in whatever form—left an even more interesting legacy.  It signaled, albeit only slightly at the time, the drift of the political left into the academy, thus diffusing its actual political power and influence.  Of course, the late 1950s and 1960s witnessed the century’s most significant and successful social movements that originated from the left side of the ideological divide, but such movements also helped consolidate the strength of the political center, and serve as examples of what political scientist Adolph Reed termed “administered negativity” (Reed, 73).  The identity politics that arose in the 1970s and 1980s, therefore, with their redefinition of political expression, built upon the foundation laid by the postwar avant-garde.  However, a caveat must be mentioned.  While the productions of avant-garde artists remained somewhat apolitical, such artists hoped to affect political change by stimulating cultural change through a bottom-up process.  Identity politics on the other hand, coupled with the linguistic turn in the humanities, sought a redefinition of political expression and resistance.  So, for example, wearing one’s hat sideways or the spontaneity of a free jazz performance became equally legitimate forms of political resistance.  Hence the culture of spontaneity that emerged in the postwar era can be seen as a piece of the concrete slab on which the structure of neoliberalism rests.

wealth and power motherfuckers by Jeffrey James Skatzka

Let us remember that we can do these things not just because of wealth or power, but because of who we are:  one nation, under God, indivisible, with liberty and justice for all.--Prez Obama


Part I. BRINGING FORTH THE LAMB


in a post 9-11 USA there should be some understanding that problems in the USA have become much larger than the war on OBL or terrorism (and drugs too, they are so bad). amid a financial/banking meltdown and in the wake of a natural disaster in the gulf, killing OBL is a distraction and a poor excuse to be happy.

our education system is being corrupted (or all ready has been), the job market is as esoteric and shitty as the stock-market, we have been at war now for far too long--we are seeing the repercussion of PTSD on troops, this list goes on and on and on and on...killing OBL did not bring justice for all and celebrating his death while contemplating broadcasting/printing/meditating over pictures of his dead body is fucked.

killing OBL caused disturbing behavior or what seemed to be another reason to make an excuse for wanting to go into OS-denial and celebrate in the streets, or on Facebook  showing our solidarity for the USA. will the USA stop fucking around in other countries? will soldiers come home now? what about gas, will it go down in price? will there be more jobs? will the USA recover?

OBL is not Jesus Christ: OBL death will not save the world OR the USA. celebrating death and killing is the USA way. the media only gives people what people have been conditioned (by them) to want: more money, more sex, more violence, more death. if anything this now allows people to feel a perceived sense of purpose for the past ten years of killing and violence.

will this bring back the Twin-Towers? does this erase the past ten years of media red herrings? college taught me that word. maybe everyone should all just go to college? because, after all, they are the factories of the USA ideology. college makes people civil and teaches them how to really think, critically! students are shown how to be fine, productive people who are given the keys to the castle. but what if you don’t buy into that bullshit or what if you don't want those keys? or better yet, what if those keys don't open the right doors? looking for doors in all the right places may not actually lead you to the best room. should all clothing be one-size-fits-all some people will lose their pants. this is a disaster in the minds of most american middle-class people

leading me back to my point about those who celebrate the death of OBL: our mindless, perceived singularity within a pluralized world is very harmful. touting the bloodied head of your victim as a trophy is fucking sick dude. media consumption is gross considering that the media only gives people what they want--or have been slowly conditioned to want.

Part II. WE ARE THE CHAMPIONS

[vid.]

Profile: 20 Reading Objects by Timm Mettler

#1 Action! Photo Zine










#2 Against His-story, Against Leviathan!











#3 Drinking Sweat in the Ash Age











#4 The Essene Gospel of Peace











#5 The Third Policeman











#6 The Myth of Sisyphus and other essays











#7 The New Sins











#8 Fascism











#9 Concerning the Spiritual in Art










#10 Man And His Symbols









#11 Art School: Propositions for the 21st Century









#12 Joseph Beuys: Multiples










#13 Burn Collector #11










#14 Mistakes We Knew We Were Making









#15 Tao Te Ching











#16 MIT Guide to Lock Picking










#17 Delirious New York










#18 Art in Theory










#19 The Mind in the Cave











#20 The Way to Happiness





About Some Different Types Of Poetry Since The Nineties or I Am Not Responsible For Shit In This Article, This Is Not An Essay by Jeffrey James Skatzka

In other words, the relationship between hardware, wetware and software remains a paradox. Either machines or humans are in control. However, since the latter possibility is just as obvious as it is trivial, everything depends on how the former is played out. We must be able to pass on to the coming generations - if not as the legacy of these times then as a kind of message in a bottle - what computer technology meant to the first generation it effected.
--Kittler, Friedrich A.

+

One thing about poetry: it is not dead nor dying. That might insinuate that the drive in people is as well and I don't believe that either. Poetry today,  already removed from the halls of canonical, academic literature, is also removing itself from everything it has ever known as an artifact or object--and it has been doing it for a while. This  evolution helped to break open a world of creativity for the writer/reader--the object and subject and text become more open to interpretation or multidimensional in such a way that even the line between creator and consumer can be blurred. This blurring of boundaries is a part of the evolution of the narrative in the Internet Generation. Constant contact with written/typographical language is now commonplace. Language is something that can easily be modified, expropriated, or cut & pasted. In fact, what other generation has had such a hands-on-approach with written language? Despite illiteracy rates the creation of language and its use is prevalent among this generation.

+Bob Holman+Marc Smith+Saul Williams+Christian Bok+Gary Sullivan+Kenneth Goldsmith

During the early 90's, Bob Holman (NYC) and Marc Smith (Chicago) and Slam Poetry/Spoken-word begin earning notoriety. This group of poets was more akin to Pinero than to Ferlinghetti or Corso and as far away from the academic system that was, in many ways, responsible for the rise of the Beats.
Marc Smith and Bob Holman fostered an environment (often in bars) where the Everyman: the laborer, the uneducated, the uninitiated, as well as the educated and informed could participate in the creation of poetry, free of any formal expectations in the structure of the poem. Some may argue against the poetical merits of Slam Poetry or Spoken-Word, pointing out its "outsider" or "outlandish" or "lowbrow" tendencies, but I think this is exactly what gives SP/SW its edge.  National and regional slams (The National Poetry Slam, Southern Fired Poetry Slam) draw competitors and thousands of spectators from every single state in the U.S. to compete as teams or individually or watch, and The World Poetry Slam… you get the idea.

By the late 90's into the early 2000’s something was in the air and SP/SW was well on its way to international recognition as a poetical art form, boosting the profiles of many artists (like Saul Williams, Paricia Smith, Taylor Mali, Roger Bonair Agard, Suheir Hammad, Beau Sia, Maggie Estep). During this time a new (largely urban) audience was being masterfully tapped into by hip-hop entrepreneur Russell Simmons with Def Poetry Jam.  DPJ took the raw energy and style notorious in the Poetry Slam and removed it from the context of time regulation , scoring, and drunken heckling. Often this style was/is political, militant, revolutionary, sexual, self-referential and shows could *SOMETIMES* feel like a hyped version of Speaker’s Corner with rap interludes. Regionally, poets like Talaam Acey and Poetri and Shihan we’re/are fostering large scenes all over the country.

Meanwhile inside the academies, innovators such as Christian Bok and Flarfists like Gary Sullivan, and so and so, were using systems of poetics that were as equally outside of the book ends. Also, Kenneth Goldsmith (Chicago) has utilized language as an object worthy of a canvas or wall-space and founded the awesome Ubuweb. What do these artists of these have in common? The internet and Media. Holy shit, the internet and internet media is fucking huge and this is changing the rubric for what poetry is (and what it will become). Being able to broadcast, discuss, and create poetical works via video, audio, and typographical articles over the Internet flipped the medium upside down.  .

+Flarf+Object+Tao Lin+ Steve Roggenbuck

Flarf poetry began using the internet-as-medium with Google searches to create lines, stanzas, couplets, or poetry that was often humorous and Dadaist in nature. Social networking sights and blogs have taken poetry medium and consumption to a whole ’nother level. This is all still just the tip of the ice-berg. Poetry as a medium on the internet is becoming more and more interesting as it breaks through the veil of how poetry is created and consumed (mainly by “poets“).

Among this current generation Tao Lin exists as a hybrid between mogul and influential artistic innovator.  Much like the poet’s featured on Def Poetry, Lin used the media to an advantage.  All of this works though, very well, and it is amazing to think others may be doing the same thing in other parts of the world with or without knowledge of anyone else doing the same thing.  Perhaps they are not imitating at all inasmuch as they are participating in a larger aesthetic mode of mixing/playing with media; reacting in the same visceral way to what is happening in the world and with culture so, the ownership given to Tao may be a bit premature, even though he is a bad ass mother fucker who forged a path. The brilliance in the how of Tao is his use of the internet, the real life acts of anarchy, vandalism and friendship.

Most every profession, and certainly the Literary, includes a high level of social networking, but among the internet generation it is in hyper-drive. Social Networking Sites are all means of accelerating connectivity within various communities online. Today, having a presence on the internet and writing for the SEO optimized world with metatized everything is just how it goes. This is a fast, synchronistic world. For example:
On Tuesday April 19, Pop Serial blogged that a collaborative microflarf poem was occurring. This is  interesting synchronicity to me, when considering the death of poetry. I was frankly blown away by this. First, A 1,400 comment microflarf poem exists and second, it jumped to 3,0600 in just a few hours and would eventually reach well past 10,000.

What it is going on here? This stunt was pulled on the wall of the pop-teen-fashion-icon-tastemaker-all-around-cool Bebe Zeva after refriending or friending poem creator Steve Roggenbuck.  Around 50 people were tagged in a photo capture of the re-friending/friending and then the Flarf hit the fan. Augmenting a core group of 15-20 contributors, people dropping lines, interacting, spamming, or showing love all day and all night--contributing to the discourse. Completely interactive, it is/was an internet live-in. One creative person, who apparently was a key figure in the collaboration, Jim Rowley, created a video in support of it. To read more, go over to Beach Sloth. Ron Silliman was often mentioned/tagged but remained totally silent. I, for one, am curious to know what his thoughts are on this epic and ongoing Flarf thread (last I read it was nearly to 20,000). Anyway, does this sound like dead poetry? Here’s my point: poetry is not dead.