The Big Dog - begging to star in an upcoming horror film - is the latest Frankenstein Robot of Boston Dynamics. They also brought us DI Guy, (get it?) a human simulator that includes soldiers, vehicles and “men, women, and children with a wide range of cultural appearances” for your shooting pleasure. Among their major customers are the US Armed Forces, Ford, and Boeing.
I don’t expect all advertisements to be truthful or even transparent - no ma’am. I am not easily fooled by animated cars that are made of skin, reflect the landscape, chase down wildcats, and fold into my pocket. Fooled - never; enchanted - absolutely. Jeanne Randolph in Ethics of Luxury: Materialism and Imagination points out smartly that in advertising, “reasoning is assailed by unique rhetorical charms: Cherry, Strawberry, Grape. Three reasons to buy Froot-Loops” (pp 9 - 10).
But who does the MTA think they are kidding? 1,944 people saw something and said something, meaning 1,944 incidents - some percentage of which were non-incidents - were reported and processed and counted. It’s reassuring that there are people watching out for us, or at least themselves, here in the Big Apple. But cradled in this false assurance are only more questions - how many saw and said something the year before this snitch campaign urged commuters to remain ever vigilant? Did any of those sightings and sayings avert disaster, or do we simply have a tiny army (1,944 is not that many in this city) of slightly paranoid individuals who reported suspiciously abandoned plastic bags and soda cans to the already harassed MTA workers? [An asside: I assume they are harassed since they are so nearly impossible to locate when I am lost and need answers to why the L, G, and 7 trains are simultaneously not running, and how I can get home from my stranded position. Far be it from me to criticize the MTA - I know their employees are very hard at work strategically posting informative signs about transit changes in the most clever hiding spots.]
“If you have nothing useful to say, say nothing at all!” - That’s my proposal for next year’s campaign.
Speaking of advertisements, I am mesmerized by the animated ads for the current roster of anxiety drugs - the animations are so inert and relaxing as to lull me into a dreamy state where I do not hear the speedily spoken list of side-effects including death, stroke, and heart attack. I feel the drugged sleep of poppies coming on, à la Dorothy en route to Emerald City. I feel myself slowly curling up on the train tracks with a speeding train hurtling towards me - i’m…just…so….sleepy……
sometimes it is all I can do to change the channel before I start to drool and mumble incoherently.
Artist Justine Cooper, whom I blogged about before, has a great piece called Havidol which is itself an ad campaign for a fictional drug using the methodology, language, and gentle imagery favoured by the pharmaceutical industry. Also check out this group who wants to end such pseudo-educational drug campaigns.
In Halifax last month, my friend David Clark showed me this video on Youtube. Having screamed my heart out for days while recording sound for my Screaming video, I find the story fascinating:
In a scene from the 1951 Warner Bros. film Distant Drums there is a scene where soldiers are wading through a swamp in the everglades. One of them is bitten and dragged underwater by an alligator! Six short screams for that scene were recorded later, and the sound effect was labelled “man getting bit by an alligator, and he screams.” One of those screams was used for the scene.
After Distant Drums, the recording was archived in Warner Brother’s sound effects library, and re-used in many of their productions. Up until the mid-70’s, the scream recording was used exclusively in Warner Bros. productions, including Them!, Land of the Pharaohs, The Sea Chase, Sergeant Rutledge, PT-109, and The Green Berets. In A Star is Born, the scream is heard twice - one of the times because a scene with the scream in Charge at Feather River is playing in a screening room.
Sound effects fan Ben Burtt noticed the same distinctive scream reoccurring in a lot of movies. He made a film with friends, called The Scarlet Blade, borrowing the scream from another film’s sound track and including it on his own. Years later Ben Burtt was hired to create sound effects for Star Wars, and had access to the sound effects from several movie studios. While at Warner Bros. he found the original Distant Drums scream - which he called “Wilhelm” after the character that let out the scream in Charge at Feather River.
Ben adopted the scream as a personal sound signature, including it in all the Star Wars and Indiana Jones films, among others. Richard Anderson, another sound editor, also continued the tradition, including the scream in the films Poltergeist, and Planet of the Apes. Other editors have used it in Toy Story, Hercules, Pirates of the Caribbean, Beauty and the Beast, Aladdin, The Fifth Element, and Tears of the Sun. It became an easter egg for film junkies.
Although it has never been available in any commercial sound effects library, the recording has made it around the sound community through editors who appreciate its history. Only a few studios have the master of the Wilhelm, but because the clear scream can be found in a few films - such as the Judy Garland version of A Star as Born, it has been borrowed for projects by other studios. It also has been used in TV shows - including The X-Files, animations including Family Guy, commercials for Dell and Comcast, video games, and theme park attractions.
The Wilhelm Scream - listen for it in films near you!
You can see a massive list of films featuring the Wilhelm Scream here.
CBC is offering a prize to the tune of $100,000 for the winning song in an upcoming battle for the new Hockey Night in Canada theme. I’ve read a lot of blog posting about spec work lately. Working on spec, in the design field, means doing the work without being paid, in the hopes of getting business in the future. Except for the winner in such a contest, no one gets paid a cent for their efforts. Creative people are already underpaid and undervalued for their work. Contests like this are one of the worst offenders, adding insult to injury.
Since I hate alarms more than most things I have to live with, The Dream is Over by Caleb Jones Lyon terrifies me. It was in Chicago at ThreeWalls this past March - the standout in his solo show. That is a stack of outdated clock radios - you can imagine the horror.
I didn’t get in to the NYC marathon, but maybe I’ll crash it. I’ll definitely need a costume for that - open to suggestions!
Clockwise from top left: Freddy Krueger, LeatherFace, Michael Myers, and Jason Voorhees
I am looking at these masks for an upcoming performance video featuring the horror genre monster men with faces obscured by heavy scars or masks. Since they are masked, they could be anyone, and in fact the identity of Jason Voorhees of Friday the 13th is used in the original by his mother and in one sequel by a local man inspired by his methods. Nightmare on Elm Street, The Texas Chainsaw Massacre, Friday the 13th, and Hallowe’en - all iconic slashers - have lots in common besides the monstrous freaks that terrorize their protagonists. All feature hapless teenagers lopped off one by one, a triumphant female scream queen who outsmarts or at least outruns the badguy, and a behind the scenes mega sequel generator.
Though all are fictional stories, The Texas Chainsaw Massacre was originally presented as a true story. Some horror theorists suggest the story, or at least the family butcher compound, was based on police findings at the home of Ed Gein, a serial killer from America’s Dairyland, Wisconsin. So gruesome were Gein’s heinous acts that they inspired not only the Leatherface butcher character but also Psycho’s Norman Bates and Silence of the Lamb’s Buffalo Bill. A few nights ago on The Chiller Channel I watched a made-for-TV style film, Ed Gein The Butcher of Plainfield, which is not for the feint of heart. The acting is flat, classifying this as a horror film is truly tasteless, and the director Hollywoodizes the physically unremarkable Gein - reinventing him as the towering husky Leatherface character. From Youtube, a real documentary:
The title Better Living Through Reality TV, by Laurie Ouellette and James Hay, drips of sarcasm in the ears of those like myself who inherently harbour suspicion of the media, especially TV and advertising.
I am not a fan of Reality TV programming, but I am interested in the enormous fan base and the genre as an example of expanded (though controlled) participatory viewing - the new model of media entertainment. I am also fascinated by the compulsion to participate in the game of voting, and the more complex game of contestant-hood, where the stakes are high and the 4th wall increasingly thin. The variety and discomfiture is enormous in Beauty and the Geek, Joe Millionaire, Tila Tequila, The Biggest Loser, and The Swan - to name just a fraction of Reality TV’s offerings, each upping the ante on the next.
Beyond voyeuristic impulses, viewers have long desired to participate, to be the star of TV drama - however tawdry and brief. Talk shows like Oprah and Phil Donahue in the 80s and 90s aired a nation’s laundry, never wanting for guests with dirty secrets and viewers with eager appetites. Artist Bjorn Melhus’s operatic installation, Primetime from 2001 dissects this drama brilliantly and with uneasy humour.
The book, which I have only just begun, delves head first into the political, educational (yes educational), economic, social, and ideological affects of the phenomenon that is Reality TV. TV as a privatized and homogenizing body now purports to speak to the public good. The TV shows and their agendas essentially become a replacement for the government’s interest in social programming, providing entertainment and a resource for self-improvement, albeit with the hefty price of commercial endorsements. In the introduction the authors write, “It is a sign of the times that, in the absence of public welfare programs, hundreds of thousands of people now apply directly to reality TV programs for housing, affordable health care, and other forms of assistance”. Sign of the times? Sounds like high time to petition the government and vote in a candidate who truly stands for public good before the poor are washed away in the next natural disaster -slash- act of god. I’m not sure that a designer wardrobe, liposuction, jaw implants, and dental veneers (a modest example of The Swan contestants’ prizes) are going to help the public good.
House makeovers, the perfect mate, and extreme elective surgery are not beyond the reach of the disenfranchised, but only the precious few are awarded a chance at the prizes. American Idol was for a time America’s #1 TV show in the ratings - the prize there a recording contract awarded for the performance of unoriginal music. Anyone can do it!
Reality TV is presided over by moderators, consultants, and experts - the authors argue that they are patronizing yes but empowering too. These roles champion an active, self-possessed, and entrepreneurial citizenry - “at a time when privatization, personal responsibility, and consumer choice are promoted as the best way to govern liberal capitalist democracies, reality TV shows us how to conduct and “empower” ourselves as enterprising citizens”. TV has become “the quintessential technology of advanced or “neo” liberal citizenship” (17). The authors weave In Foucault’s view of government and the self-governing model. TV takes governance into the home through a hard-hitting educational stance - but there is no place in this model for individuals who wish to reject femininity or masculinity as presented on screen, or who prefer a subcultural lifestyle (p 116).
Some shows speak to the political process - your vote counts. Polled by Pursuant Research, Inc, 35% of American Idol voters in 2006 believed their vote counted as much or more than their vote for the president (p 215), and an Idol moderator claimed that the 2006 winner received more votes than any president in history. Maybe the government should take notes - this is what the people want - voting at home, popular (generic) music, and big self-improvement prizes. The media pays attention - fans are the customers.
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Another TV genre that lets contestants dream big, financially if not cosmetically, is the game show. In related news, Mark Kostabi’s latest vanity project, Title This. For those unfamiliar with Mark Kostabi, he is a New York artist whose Kostabi World factory workers churn out endless dime-a-dozen paintings. He’s infamous for this factory approach to art making (not unlike artstar giants Jeff Koons or Damian Hirst), lack of originality, selling works on eBay, and his media persona.
Said Kostabi, “My paintings are actually more interesting than the conceptual hijinks [which he is famous for], but you’d have to be a painter to understand that. It’s much easier to be entertained by anti-establishment intellectual slapstick than it is to understand what’s going on in a painting.” Unfashionable championing of painters as the pinnacle of fine artists aside, Kostabi’s Public Access variety TV show, Title This, is in my opinion, the most interesting thing he does.
To the tune of his own piano playing, he invites celebrity and artworld friends to title his paintings, rewarding them with $25 for successful titles. I have some ideas for the (untitled) image above.
It’s either my double Newfie ancestry or my fascination with horror plots - but I think I’m in love, or lust. Who needs an iPhone when you have a Falcon Fog machine??
