Saturday 30 June 2007

Voyage to Clubland: Investigating Peep-Show Theory



Images from: Google Images
I was out clubbing again yesterday for a friend’s birthday. When we got there it was quite empty, but we had to take advantage of the £10 before 11pm deal, because the promoters threatened ominously that it would be ‘more thereafter’ and being broke in a chic studenty type of way, we had to ensure that we’d still have enough money on us to pay for the night bus home.

So we got in, hissed at the £2 charge for coat check (it’s usually £1, the cheeky gits!), found a good spot to hang and began to sway lightly on our feet in the way that clubbers do when they enter a party space. It’s code for, we’re here now, we’re open to see what’s gonna happen tonight, DJ play something that will change this sway into stepping! In other words, it’s like the warm up before the athletics.

As the club filled, the DJ’s set progressed from upbeat Soul to velvety RnB/Hip-Hop, and with this progression, came a progression in the dancing. At this point, we were all dancing, screaming along to the lyrics, and listening out for what the next song in the mix would be. It was somewhere at this point, amidst all the activity, that I noticed that the clubland gender roles became more played out than ever.

For guys, a large part of the clubbing experience is voyeurism and for girls, it’s performance.Perhaps I have always known this, but it became more of an articulated thought than a vague idea last night. As someone who likes watching people, I’m very shy about being watched myself, so when it came to the part where the lyrics were telling the girls to ‘wind for me’ and ‘jack your leg up’ and ‘back that ass up’ and ‘work it like you’re working for dollars’, I took a step back and perched on the back of a sofa. I then realised that all the guys were either perched on the same sofa, or up against a wall, watching the spectacle going on. A guy friend pointed at one if my friends and said, ‘Wow that b**** looks fiiiiiine,’ so I said, ‘Errr, yeah, I understand that you mean she looks nice, although maybe I’d have used different words to describe it.’ She was of course, naked. She was ‘having fun’ sexually dancing – exhibiting. He was ‘having fun’ inspecting the anatomy and mating rituals of a prize b**** – voyeur-ing.

Every so often, during a particularly dramatic contortion by one of the girls, a guy or a couple of guys would latch them selves onto her behind and simulate a sex act. Then all the other guys would whip out their cameras i.e. Oh the pleasure of sight both for now and here after! Don’t get me wrong, I love dancing, and mucking about with friends, but the focused attention that seems to demand that you dry hump and pseudo-copulate on the dancefloor kind of kills it for me. Being clung to by another being impedes my movement, so when all that starts, I’m more than happy to go back to people watching. There are always so many things to see: elaborate avoidance schemes, successful linkages, attention seekers, the cool kids, the kids who can pretend they’re cool because it’s dark, comical drunken virtuoso, all sorts!

After a while, all the guys were asking me what was wrong, and why I wasn’t 'having fun'. It wasn’t enough for them that I just enjoy kicking back and watching the scene (even though they know what I’m like already). On top of that, it wasn’t enough that I happen to be mildly scoliotic and aggravated winding on the dancefloor means hell to pay pain-wise the next day. It wasn’t enough that I fell on the stairs yesterday, and my knee got hurt because I landed awkwardly on it while trying to protect the chocolate cake I was carrying at the time. None of that was enough, they swarmed round me like flies, pestering, trying to force me to ‘have fun’. Trying to get me to do the whole ‘I’m sexy all up in the club bit’ so they could sit back and watch. Oh hell no! Not last night.

What was funny was, I did get up and dance again, but my dancing wasn’t valid because I didn’t ‘get low’. I didn’t proffer my bottom to the first available taker, I didn’t jump onto a sofa and bend myself in half. Stepping my heeled feet and midi dress, moving my arms, nodding my head, mouthing along to the lyrics, snapping my fingers, moving my shoulders, flicking my hair, swaying my hips lightly – none of that constitutes dancing, apparently. Someone said to me, ‘come on girl, put your back into it.’ So I said, with a huge smile ‘Sorry, I don’t grind.’ ‘Ugh,’ was his response.

The birthday boy sidled up to me and said, ‘I used to think too much when I was younger too, and it’s not good for you. Try and have fun.’ Granted, he was drunk.

‘I am having fun,’ I said. ‘I’m enjoying the music, I’m enjoying being with everyone. And look, I am dancing.’

‘No you’re not, you’re depressed,’ he declared. ‘Here, have some more alcohol then you’ll be dancing properly.’

I rolled my eyes (privately of course). Another cliché: buy a girl a drink and she’ll lose all her inhibitions. For goodness sake, I come from Opobo, where local moonshine, is the preferred alternative to Listerine. The Irish afterall have their ales, and we have our gin.

‘I’m fine hun, seriously, thanks! Stop worrying.’ I waved my hands in the air and started doing the electric slide and he looked at me as though he really wanted to believe me but somehow, I wasn’t making that possible.

Sigh! I looked around. Another girl had lined herself up with a ledge and was giving it the same attention she would give to a man under the right circumstances. The guys were moments away from dribbling. They had forgotten about capturing the image on camera for later. They were focused on the right now, broasting in lewd concentration, being stimulated by their sight. After about three minutes, someone began to film it. Then she made a show of not wanting to be filmed (as though she had NO CLUE that she was being watched before) and then carried right on with romancing the wooden ledge, with even greater alacrity, I might add. One brave man stepped forward and welcomed her posterior with his crotch. ‘That’s what I’m talking about,’ the other guys said. So it would appear, I thought.

Eventually, I decided to leave, because frankly I was tired, and I just wanted to go to bed. Why people can’t seem to accept that it's a valid choice for a girl to come into a club and just chill, like I was doing, is beyond me. Maybe because unspoken club rules state that the guys are supposed to be pleased/pleasured by what they see, and the girls are supposed to provide the entertainment. My lack of performance (on their terms) was robbing them of a fraction of the £10 value they came in to behold, and it struck me as all very problematic. The guys paid £10 to see some good booty, the girls paid £10 to have the undivided attention of a room full of horny men.

I suppose most girls love to be watched and ogled at, but I’ve never been most girls and I make no apologies for that. I really don't enjoy being watched. I’m not a tomboy at all – I do love my heels, a nice frock, makeovers, etc, nor am I particularly interested in being controversial, but I find it difficult to accept that if I’m not consciously trying to make a guy imagine having sex with me, then I’m contravening some sort of ‘fun having’ rule. If you asked any of them about last night, they would claim that they’re not sure whether or not I had fun. And I would beg to differ. I so did, because I got dressed up, danced (on my terms), hung out with friends, took silly photos, listened to good music, and got some fodder for my blog! It probably sounds like I’m being disparaging of the club experience, but I’m not; I actually like going clubbing. I’m merely trying to deconstruct it and find out what the point is, for the different people who go there. Why they go, what they percieve as fun (and why that is). Also, if they’ve ever actually stopped to question the shape their assumptions about clubland behaviour take i. e. do they ever consider that they might be playing a role that's dictated to them by the club space, and by media semiotics surrounding similar spaces (e. g. music videos)? What happened to the days when most dancing was about movement, rhythm, skill and not latching on to the tail end of the nearest mother ship?

I suppose the idea about meditation in clubs in my poem below (Nightclub) came true in that I reached a new gender role discovery. I would also like to refer to my post (Exploring Erotica) below for the topic of respectability. Some girls complain about the way guys respond to them in clubs. Granted, there are lots of losers who do unprecedented letching (heck they’d hit on a duck if it waddled past), but for the large part, guys respond to the signals that the girls are putting out. Note to women (again!): if you don’t want to be mistaken for a stripper, don’t act like one and then pretend to be offended when you’re treated like one. At a certain stage of your life, you should be able to make cognitive assessments about your behaviour. If you’re going to act out a part, be prepared to deal with the repercussions.
About the unprecedented letches, though, while I was minding my business waiting for the night bus home, a bald, sweaty, rotund, drunken weirdo staggered up to me and began to interrogate me. Even after he had established that I wasn't Halle Berry, Samantha Fox, Shakira or Beyonce, he asked me if I'd like to go home with him. I declined politely. 'Is it becaue I'm ugly?' he asked. I didn't respond. He then tried to help himself to a handful of the chips I was eating. 'Stop it,' I yelled. 'Go away! You can't just stick your hands in other people's food.' 'I only want one chip,' he said. I shut the take away box and glared at him. Thank goodness, I shut it before he could get his grotty fingers on my food. 'Oh, you slut,' he said, shaking his fists, then he disappeared. Last time I checked, there was nothing slutty about eating soggy chips in a full length black coat and no make-up, so I didn't need to be offended, because he was clearly the one with issues, mostly, those to do with cider-induced altered perception. If I had been pole-dancing on the bus shelter, then maybe he'd have had a point. But I wasn't, so he didn't. Oh ye women, take note.

And that, my darlings, is it from me…for now.

Smooches,
xx

Saturday 23 June 2007

Mediocrity Polemic: In Praise of Shoddy Work


Image from http://montanalibraries.org/ILLTraining/images/j0196394.GIF




I just watched A Beautiful Mind for the first time. It was brilliant, and I think Nash really was a genius. I’m about six years behind Hollywood, but never mind, I’m trying to catch up. What I came away with was a question: What is the difference between achievement and recognition? Until John Nash’s tutor posed the question to him, I had never needed to consider that they were two distinct entities. It’s almost logical to take it for granted that the two are interchangeable; so logical in fact, that it takes stepping back to extricate one from the other.

On stepping back, I realise that it’s a distinction that needs to be made more often. Take contemporary fiction for example. There are a few authors I’ve read, whom if I were their teacher, I’d write ‘Stop being lazy and apply yourself’ in red across the top of their paper. But whether or not I think their work is mediocre, they have awards, endorsements and reviews (celebrity) that seem to suggest that they are good at what they do. In that scenario, their recognition implies that they must have achieved extremely high standards of work, when in fact, they might not have.

In the same way, there are geniuses working away all night, churning out masterpiece after masterpiece, yet because they don’t yet have a public platform, it may be possible for an anonymous observer to play down the excellence of the work; simply because he can assume that if the work was reeeeeaallly that good, then surely it would have been noticed by now.

I think this separation of achievement and recognition can and should be be applied to most creative fields. There are popular singers, writers, producers, film makers, actors, designers etc that make one think, how in the world did they get a deal? Or maybe the undeserving heroes used to produce top quality stuff until the critical acclaim and recognition made them complacent? And on the flipside, there are incredibly talented people we know who’ve been banging at the doors of opportunity for ages and haven’t got the recognition that their work deserves.

In Emile Durkheim’s paper, ‘The Functions of Crime’ he insists that crime actually serves a purpose in society. Stay with me here. According to him, punishment of criminals acts as social organisation, deterring the general public from doing the same. Crime also helps in the governance of societies because it reveals the negative changes that have occurred in morality (by measuring collective responses etc) and enables them to facilitate better security services for the average citizen. I have decided to appropriate this concept (the concept of crap stuff having a purpose) to my appreciation of untalented geniuses.

Rather than continue to rant and rave about how the prominent people with disgraceful work shouldn’t be where they are, I’ve decided to learn from them, to use them as inspiration and I think this is something we can all do. If they, with all their half-arsed work can get a record deal/get published/get exhibited/get cast/get awarded/get endorsed/get signed, then so can the rest of us. Their mediocrity is actually a good thing about them because it serves a purpose; it gives the rest of us hope that if they could hoodwink the world with their nonsense, then we can sure as hell bless the world with our excellence.



P. S. The psychiatrist who had Nash committed in A Beautiful Mind was called Dr Rosen. There’s a well known article called ‘On Being Sane in Insane Places’ written by a David L. Rosenhan. Is that a (reality to fiction) coincidence? Or does the scriptwriter happen to own the same books as me? Strange.

Friday 22 June 2007

Nightclub

photo from http://www.gordonbarker.com/new_images/nightclub.jpg





While I was in a club recently, I started thinking about what the space meant to the people who were there, what it represented, and why we had all chosen to spend four to five hours of our night there (apart from the 'obvious' pursuit of fun). I didn't go in there planning to go all Lefebvre and intellectualize a night out - that's just nerdy - but it randomly occured to me during a mini dancing time-out to catch my breath. As the idea occured to me in Kabuki (which means Japanese theatre) I had hoped the poem would be a Haiku (Japanese style of poetry) to match , but the words didn't quite work out like that. Anyways, here it is! x




Nightclub



Den of meditation
Nectarisation of desires
Boiling down, sweetening slowly
Like jam.

Space of mixed anthems
Consciousness individualised
Me, my, mine, to group dancing
Startling clarity.

Most irreverent of decibels
Sinewy lyrics, testosterone rhymes
Latent distraction a blank silence
To ponder life.

Subversion of curse
Wallflower to observe, flanneur
Crowd watching and cross referencing
Mental resource.

Cocoon of darkness
Shock of flashing lights
Subconscious epiphany brewing
Unlikely oasis.



© June 2007

Wednesday 20 June 2007

Quorn Shoes - How Far is Too Far?






I've had a lovely week bumming around Brighton with my sister. We walked on the beach, got leered at by random weirdos, had ice creams and hot dogs, wandered round the Laines and ate entirely too much tiramisu.


Wandering round the Laines was interesting, and I thought I'd bring back a souvenir of my exasperation for you guys - a picture of a vegetarian shoe store. Now come on! I think this might be on par, if not slightly more ridiculous than ideas like communism, fair trade organic gluten free sashimi and those hideous jute 'ghana must go' bags that Louis Vuitton is trying to turn into a handbag trend. So not happening!


While we should respect animal and plant life on earth, people have forgotten that animals are subject to us, to humans. Why should there be vegetarian shoes? I refrain from being mean about vegetarian food; I thought Quorn was the height of food substitution but shoes? It is the cow's fate to give us meat, milk and leather. Not using this leather because we feel sorry for the cow is the latest addition to what I'd like to call my 'Catalogue of Modern Man's Inferiority Complex'. It's because we've forgotten that we are the boss of the cows, and not the other way round, that we can pussyfoot around them and shortchange ourselves of good footwear, just because, sniff sniff, we feel sorry for the cows. If anyone bothered to ask them, they'd find that the cows are actually very happy to keep us in top quality, beautifully stinking leather shoes, belts and bags.


Barring dietary allergies, I don't know why anyone wouldn't eat meat, but as I said, I won't be mean about it, because we must be respectful of people's preferences etc, but taking the aversion into shoes goes to far. If you don't eat meat, don't create things that look and taste like it (Quorn) but aren't it - that's like eating your cake and having it (or is it having your cake and eating it?) and its very confusing for some of us. But why do there need to be vegetarian shoes? Last time I checked the dictionary, being vegetarian was a dietary preference, not a movement. In the light of this, is it possible or right, even, for vegetarianism to be extended into non-dietary areas? It's whimsical. What if meat eaters decided that they'd only use clothes, stationery and other products that contained some sort of animal component? Would that be allowed? I don't think so.


I mean, kudos to the entrepreneur of this venture. It's very good niche marketing and all, but Quorn shoes? I mean, really! Strangely, I found it oddly charming that such a shop should be established in Brighton. Strangely, Brighton always reminds me of what I imagine a conglomeration of Camden/Soho/Covent Garden would look like. Edge, funk, alternative & random bottled and sprawled out by the sea.

Saturday 9 June 2007

The Orange Prize, 2007

Congratulations, Chimamanda. Well done on winning the Orage Prize. I am very proud of you. To all indiginous Africans who in our own little way, work everyday to do positive PR for our continent, to all other people who are working to make this possible, and to everyone who is willing to believe that we're not all kwashiorkor victims, I say God bless and keep the faith.

Thursday 7 June 2007

Big White Fog








Images from www.almeida.co.uk
After I saw this play, I realised that my opinions from a previous post (Origins and Where We’re From) might actually be flawed. Theodore Ward’s Big White Fog, directed by Michael Attenborough, no less, has had a grand welcome from the literary circuit. It was discovered quite recently to have been written before A Raisin in the Sun, which until now was known as the first Afro-American mainstream play. Basically, it covers the experiences of the Mason family, when Vic the father ties up his family’s life savings in Marcus Garvey’s shipping line which never materialised. He ended up losing the money, his children dropped out of school, and his daughter began to play pay-per-touch with her body to help her mother take care of the younger siblings. Of course the very same father turned round and called her a whore, complained to his wife that she should fix the kid’s leaking shoes etc, conveniently forgetting that it was his royal highness who kicked them to the bottom of the poverty line in the first place.

The subtext and the inter-family relations outdoored all the most pertinent issues of the time: Black on Black attitudes that came with different shades of lightness of darkness, the political climate, etc. But what made me think the most were Vic and Dan’s opposing views which related directly to my post. Vic was following Garvey and trying to claim Africa for the Africans. He got promoted to something like Overseer of the Grounds and Goats, ahead of their planned return to Africa. Dan, however, declared that he was American because he was born there. In a nutshell, Big Whit Fog dramaised the conflict between The American Dream and the Back to Africa schools of thought, and how the different ideologies affected the Mason family during the Depression.

By the end of the play, I had moved from siding with Vic to siding with Dan, at least somewhat. Dan thought that The Garvey idea was just another way of perpetrating segregation, and a hoax. I now agree that from-ness is not always absolutely about where your parents are from, but a combination of factors. And so I stand corrected. It was silly for Vic to assume that he would automatically be a land baron in Africa, and silly, I think, for the Garvey squad to bestow such an honour on him; it wasn’t their place. It betrayed a condescending attitude towards the people who were already living there – why would Vic and his superiors assume that those who had been in Africa always and never left would gladly step aside and relinquish agricultural control of their land to strangers? The notion also irked me because it took the quintessential standpoint of Africa as a table top that many ignorant people tend to adopt. Did Garvey know how large Africa was? Did he know that there are way over 15000 different cultures rooted there? Did he know that he wasn’t the only one with his eye on the prize, and that it wouldn’t be so easy to just waltz in?

I am not yet a Garvey scholar, so forgive me if my rants are off the mark, and I will go away and do some reading; but these were the issues thrown up by the play (which I have on trusted authority) as being quite historically accurate. Nevertheless, Dan turned out to be right, and there was a huge cathartic situation at the end, where Vic got shot (served him right; I liked him, but it was poetic for him to die), and his son Les, and his other friends resisted eviction by the Mayor’s cohorts.

The only factor that I found slightly chilling, was that the last scene seemed like a thinly veiled attempt to endorse socialism. I mean, come on! But I won’t get into that today; my opinions on socialism etc tend to degenerate very fast into expletives, and this is neither the time or the place, so I shall spare you the aggro.

That said, it was possibly the best bit of theatre I’ve seen so far. The set was the work of a brainchild. It felt like we were sitting in someone’s living room, eavesdropping on their conversations. Without any gushing or histrionics, I’d encourage everyone to go and see it. Believe it or not, there are some hugely comic scenes in there, what with the snide old grandmother and her pearls of wisdom.

Big White Fog shows at the Almeida Theatre until 30th June, 2007.
Tickets from £6 - £29.50
http://www.almeida.co.uk/

Tuesday 5 June 2007

A Tale of One City




























Conglomeration of intellect and wit
With Billy Bryson in Foyles Bookshop
The sound of travel writing and jokes
Cheery bibliophiles high on the smell
Of new paper, varnish and ink.
Drunk on silence, queueing for autographs
While a nameless crazy scholar rocked on the floor,
Marinating in his own stink.
**
A stroll through Soho in the evening breeeze
Latent with distraction, ‘Dirty White Boy’
Emblazoned on Old Compton Street
Yummy cakes in windows, flip flops on our feet
30% off strawberry sauce and ribs
Rainbow artwork objectified the gay night
Their hands clammy in clasp, making a point
Gazes held slightly longer, longer in assessment.
**
Rounding the night up with music and drinks
Mojitos and shots of Absinthe are both green
So imagine my shock in Marketplace Bar
Where existential shit smirked from the walls
Taunting the Drum and Bass
Threatening sound barriers
WOOD stencilled onto wood in jest or silent reproach
Philosophy not love, residing in weird places.
**
Three stages of a night, in the womb of Londinium
Randomness and beauty, a tale of one city

 
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