Re(Dis)membering Pushead, The Cheerful Blasphemer

The index to the Comics and Music roundtable is here.
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The album cover for Funeral Mist’s 2009 album Maranatha featured a dark chiaroscuro drawing of a cherub blowing his trumpet in the ear of a naked old woman, her eyes rolling back on her head as she masturbates for the apparent titillation of the viewer. Among the images within the liner is a very young girl, rendered in a similar style, holding a small, smooth stone delicately engraved with the word “Whore.” Really, no matter what you make of the message, it certainly qualifies as an attempt at humor, rendered with attention to traditional Western visual aesthetics.
 

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This cover was created by Funeral Mist’s only remaining original member, Mortuus, (nee Arioch), not by Brian Schroeder, a.k.a. Pushead, known best for his ‘80s and ‘90s illustration work for Thrasher magazine, Zorlac skateboards, Metallica and the Misfits. But the Maranatha art represents a revival of a Pushead-like appreciation of handicraft and fun that has been absent from Juxtapoz-style graphics for far too long. Despite his narrow range of subject matter (bones, skulls, bits of cloth or meat), Pushead’s work resonates with allegorical death tableaux from the northern European Renaissance, “ukiyo-e” Japan, revolutionary Mexico, and modern Symbolism, Expressionism, and Art Nouveau, realized in monochromatic tattoo-ready vignettes of sublime line and texture variation. Adorned with scarves, bandages, hair, wires, etc., Pushead’s skulls wink, leer, and grimace, eye sockets full of sparkly miasma and undead mirth.
 

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I don’t know if there was any conscious influence, but when I first saw the work of German printmaker Horst Janssen, shortly after his death in 1996, I could not help but be overwhelmed by the formal similarities. Thorny tangles emerging from shadowy recesses, suffused in a particulate cloud of decay, to resolve into a mass that may have once been alive, always rendered with a delicate sense of slightly sadistic absurdity.
 

Horst Janssen

 
The other artist that Janssen, and perhaps by extension Pushead, recalled, was that other grotesque light of my teenage rendering pantheon, comics illustrator Bill Sienkiewicz. Which helps to make the point that this artwork is, at least at this point in history, “low” art. Not because it is in any way ignorant, but simply because it values craft over concept and fantasy over empiricism.
 

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At least that’s what “low” art should value, according to me. The fact that so many design-based artists since the millenium want to cash in on their lack of craft or taste by painting a skateboard deck and hanging it in a gallery, and that the kind of trained, elegant modeling Pushead epitomized has been turned into pointless jungles of calligraphy screenprinted on to wraparound T-shirts at Kohl’s, is neither a judgment on “high” or “low,” fine art or illustration, but their troubled relationship. It’s a two-way sellout, much like the deliquescence of Metallica, post-Cliff-Burton, into therapy-empowered stadium-ready flight-simulator music, and the simultaneous aspirational decline of underground comics into faux-cinematic narratives of tortured magical-realist sincerity. The race for seriousness has done a lot of harm.

For years the door to my room sported a Thrasher page featuring Pushead’s Zorlac logo, a one-eyed pirate’s skull in which not only two locked cutlasses are embedded, but also a Christian cross formed by two bandage-bedecked bones.
 

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It was (and is) a provocatively ridiculous image, but was never an issue for my churchgoing mother. This was years before black metal band members had to cut their bodies and smear themselves with entrails onstage in order to achieve cred– although Gwar had been using roughly similar tactics, equal parts Gallagher and G.G. Allin, for quite some time. This was when Slayer sang songs gleefully extolling murder and hellfire, but was fronted by a faithful Catholic, and Deicide was soon to take off, untroubled by its majority Christian lineup. Anti-racist skinheads were beating up Nazis, but thy weren’t jumping random people coming out of a bar. It was a less extreme time for extreme culture posturing.

This may have been partially because the censorious culture warriors were far more militant in the ‘80s. You could get in real trouble just for drawing a comic called “Boiled Angel.” Insofar as the retreat of assholes like Jerry Falwell, Tipper Gore, Jesse Helms, and Ed Meese means, say, more freedom for gay teenagers to come out and not kill themselves, we are in a far better place. But, in a way, Pushead had a kinship with the politically and viscerally confrontational artwork of the 1993 Whitney Biennial, when a sense of humor and detachment did not reduce the ferocity of a statement, but saved it from the pious, solipsistic irrelevance that has dogged visual culture since shortly after that time.
 

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“Family Romance” by Charles Ray from the 1993 Whitney Biennieal

 
Looking at Pushead again makes me think that it may be time to safety-pin a bloody banner to our genitalia and get back out in the street. I find hope in the fact that Mortuus from Funeral Mist, despite his grand statements about devil worship, obsessively quotes the Bible in his lyrics, thereby emphasizing in-between space over mere fidelity. Sometimes a stance is just an attitude, which may be far better than an ideology.
 

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Comics and Music Roundtable — Index

We’re going to be running a roundtable on comics and music over the next couple of weeks. This will serve as an index of posts in chronological order.
 

Bert Stabler, “Re(Dis)Membering Pushead, The Cheerful Blasphemer”

Craig Fischer, “Poster Boy”

Brian Cremins, “Gil Kane, Memory Drawing, and Bob Dylan’s Self-Portrait

Betsy Phillips, “A Theory of Why the Two Iron Men Became One”

Qiana Whitted, “Sound and Silence in the Jim Crow South”

Noah Berlatsky, “The Unheard Peanuts”

Kailyn Kent, “Phantom Music”

Marc Sobel, “A Review of Reinhard Kleist’s Johnny Cash: I See a Darkness

Michael Arthur, “Non-Canonical”

Ng Suat Tong, “Opera As Drama As Comics”

Chris Gavaler, “Top 5 Superman Songs of All Time”

Noah Berlatsky, “Klingklang Drawing”

Ng Suat Tong, “The Freewheelin’ Daredevil”

Subdee, “Phonogram 2: The Breakfast Club”

Russ Maheras, “Gene Simmons and Kiss: Channeling One’s Inner Superhero”

Noah Berlatsky,, “Presence”

Domingos Isabelinho, “Pamplemoussi by Geneviève Castrée”

Sean Michael Robinson, “Music or Comics, or Making a Joyful Noise”
 

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Emotional Tics

This first appeared on Splice Today.
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Tim McGraw’s Emotional Traffic starts out with a 90s emo whine. “I crawl out of my cradle down into my black hole/ and you just lay low/under your halo,” McGraw wails, pulling out the words with a little nasal catch like he thinks he’s Billy Corgan (there’s even a line in there about how he’s “silent in his cage”.)  The music is frat arena rock for sensitive new age post-grunge dipshits, the drums thumping along oh-so-earnestly as the guitars express sweeping self-pity through the portentous power of loud, muddy noodling.  If Kurt Cobain were alive to hear this, he’d probably shoot himself.

Not every song is that dreadful.  “One Part Two Part” is a bouncy 80s rocker that I”d probably really like if it were sung by Bonnie Raitt, but even McGraw’s testoster-anonymous vocals don’t ruin it entirely.  “Felt Good on My Lips” does the 90s post-grunge thing the way it should be done if it has to be; the slightly distorted chimey guitar intro is so generically perfect it’s impossible to link to a single source, which doesn’t stop it from being impossible to get out of your head.  The horny party-boy lyrics are irritating, but they could be worse, I suppose.  Rhyming “last call” and “lip gloss” isn’t exactly genius, but it’s marginally clever.  Credit where it’s due.

So, yes, this is not the worst album I’ve ever listened to.  It is, though, one of the most confusing.  I understand where mediocre pop music is coming from usually: Kelly Rowland, for example, is just trying to sound like the latest thing on the radio and failing because she doesn’t have good enough gimmicks and/or songwriting. Similarly, I get mediocre retro music: Joss Stone is just trying to sound like soul greats of the past, and failing because she doesn’t have good enough gimmicks and/or songwriting.

McGraw though, and country radio in general, is a puzzle.  Even factoring in the bland Ne-Yo duet, he’s certainly not trying to be up to the minute when the bulk of the album sounds like it could have been recorded two decades ago. But Emotional Traffic doesn’t make sense as a retro exercise either. McGraw isn’t trying to remind you of the Smashing Pumpkins or Nirvana or Bonnie Raitt the way Joss Stone wants you to think of 60s and 70s soul.

McGraw’s a country musician, and he does make occasional vague efforts to remind us of that.  “Better Than I Used To Be” is a relatively stripped down maudlin ballad with lots of pedal steel that I can imagine George Strait singing.  “Touchdown Jesus” is not, alas, a song about Jesus playing football, but its self-righteous litany of feel-good chicken-soup-for-the-soul parables punctuated by the banally triumphant title phrase is obviously a desperate bid for middle-American Christian cred.

But if you’re going for middle-American Christian cred, why on earth are your musical touchstones generic 80s and 90s pop rock?  Betty Wright as an icon of authenticity, okay.  George Strait?  Sure, if that’s where you’re at.  But the Foo Fighters?  What the hell?

You could argue that this sort of confusion has always been at the root of country music.  In his book Creating Country Music: Fabricating Authenticity, Richard Peterson argued that country as a genre was an essentially dialectical process, as old time hard core authenticity claims vied with new-fangled soft shell pop instincts.  Thus, you get Hank Williams, wearing a cowboy hat while playing new pop songs in a string band setting with vaguely rural themes, or Bob Wills, playing jazz and folk and blues and pop in a big band setting with some country instrumentation added.

In that context, maybe it makes sense that country is now just 20-year-old pop music sung by someone with a mild country accent who makes occasional references to Jesus.  Presumably listeners like hearing the same music that was on the radio when they were kids coupled with very mild evocations of the rural working-class setting in which that music was heard (or in which one enjoys imagining that it was heard, as the case may be).   When McGraw declares on “Die By My Own Hand,” the album’s final song that “It looks like you’ve left me with some habits I can’t break,” he could be talking about Emotional Traffic itself. The album feels like a tic, repeated not out of conviction, but simply because it’s trying not to think too hard about whatever it is it once loved.

Flatland

This first appeared on comixology.
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The above is Reptiles, a lithograph print from 1943 by the famous Dutch artist M.C. Escher. Escher isn’t usually thought of as a comics artist. Yet, as this image shows, he was one — sort of.

So is this print a comic or not? Well, it depends on how you read it. The narrative here determines the form.

Do you see this as the story of a bunch of different reptiles crawling in single file out of an abstract design, over books and other objects, and back into the design? If so, then it’s a static illustration — a drawing of one moment in time.

On the other hand…do you see this as the story of a single reptile, depicted in various stages as it makes its journey from art to life and back again? If so then, despite the lack of panels, this is essentially a comic. It’s not a frozen moment, but a sequence.

Of course, you don’t really need to make a choice for one or the other. The title of the piece may indicate that there are a bunch of reptiles here, but much of the enjoyment of the image — and of Escher’s work in general — is the sense of moving pieces caught in a pleasurably regimented dance. Even if it’s not technically one reptile moving, the individuals are nonetheless interchangeable. You know that the reptile climbing the triangle is going to get to the top of the D & D die and that it’s going to blow smoke out of its nose when it gets there just as its predecessor did. The reptile blowing smoke will climb onto the little cup; the reptile on the cup will crawl back into the abstract pattern. Whether the image is showing a sequence as a comic would or merely implying it, the point is still that time and identity are flattened out across space.

Escher is hardly the only comics artist to use this sort of trick. Here’s a familiar example from Carmine Infantino.
 

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A more sophisticated use of the trope can be found in Alan Moore and Dave Gibbons’ Watchmen. In that book, the character of Dr. Manhattan (Jon Ostermann) is essentially an Escher lizard who has achieved self-awareness. He knows that time is a pattern, and (like the observer of the print) he can see that pattern all at once, from the moment he crawls up out of the flat drawing to the moment he crawls back into it. His lifetime is a clockwork puzzle, unchangeable and simultaneous. Sequence and stillness fuse, and in doing so call into question both free will and identity.
 

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In the panel above, Moore and Gibbons emphasize Jon’s disjunction in time by giving him two bodies in the same space. Laurie’s shocked reaction points out the weirdness of her big blue boyfriend — but it also comments on the weirdness of the way in which comics depicts sequence. After all, there are many pages of Watchmen in which you see two Manhattans side by side, or one on top of the other.
 

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The difference between the first example and the second is not how many bodies (there’s more than one Manhattan in the second, too) but our perception of those bodies — not how many lizards are drawn, but whether we’ve decided to see them as a group or a sequence. Laurie is horrified when she wakes up in bed with double Jons because she’s suddenly allowed to view the world as Jon sees it — not as one body walking through time, but as multiple bodies in the same space. Her pleasure depends on not seeing the pattern.

Moore and Gibbons use the play of sequence and simultaneity to investigate comics form. But they also use it to look at how time and the perception of time affects human decisions and identity. Reptiles has more limited ambitions. Like most of Escher’s work, it’s clearly a goof, more in play than in earnest, posing frivolous questions (what kind of lizards are those? what’s in the book?) for the fun of it rather than for some profounder understanding.

And yet, the shallowness of Escher’s drawing is surely the point. Time becomes space when you flatten both out, but where can you go that isn’t flat? Laurie’s fright upon seeing the mechanics of narrative laid bare is itself part of the narrative, just as the lizards climbing up out of the page are still on the page. For those small animals, narrative is not a series of events; it has no starting point or ending point. Instead, it’s a cycle of greater and lesser abstraction; of flattening and inflating. Identity is the design of time dividing from itself; the only story is of story pulling itself from pattern and returning to it. Even the blue lizard watching lizards remains only the sketch of a lizard.

What makes Reptiles a comic, then, is the way that it crawls so determinedly betwixt and between the intriguing silence of those books and the flat silence of that pattern. If narrative is time and picture is space, these critters move through both and neither; they’re more amphibian than reptile. If they could talk, they might tell us not what it is to see all of time as a page, but rather what it is to be a surface — a space so thin it cannot tell whether it exists or not.

Utilitarian Review 4/13/13

On HU

Kailyn Kent points out that the New Yorker recycled a gag and no one noticed, cared.

Chris Gavaler on Nicholson Baker and superpowered sex offenders.

Featured Archive Post: Matthias Wivel on comics and classical art.

Jones, One of the Jones Boys on Jack Kirby and the visual logic of superhero fight scenes.

Richard Cook on the unexpected awesomeness of Breaking Dawn 2.

Kristian Williams on means and ends in V for Vendetta.

Me on Gwyneth Jones’ White Queen and reading as science fiction.

Chris Gavaler on transhuman eugenics.

Chris Connor asks what you’ve been listening to this week.

 
Utilitarians Everywhere

At Reason I review Alex Sayf Cummings’ new book on the history of music piracy.

At the Atlantic I talk about:

the benefits of overpraising Dads.

childishness in Romeo and Juliet.

— the amazing crappiness of the Band Perry’s new album.

At Splice I talk about:

Steven Landsburg and the freedom to rape.

Jimmie Rodgers vs. Brad Paisley, Louis Armstrong vs. LL Cool J.

 
Other Links

Johnny Cash and Joni Mitchell.

Johnny Cash and Louis Armstrong.

Conor Friedersdorf on the cost of the stigma against nudity.

Jesse Walker on integration and Southern music.

Susan Faludi on Shulamith Firestone.

Good Grief, Charlize.

Eric Berlatsky on love triangles and homosociality in the early Superman.

Isaac Butler defends Romeo and Juliet.

Madison Moore on the downsides of grad school.

Female geeks spoil everything.
 
This Week’s Reading

Finished Gwyneth Jones’ White Queen; read James Tiptree’s collection Ten Thousand Light Years From Home, which is pretty mediocre. Started rereading Shulamith Firestone’s Dialectic of Sex. Oh, yeah, and reread Romeo and Juliet…which is great!
 

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The Terminator Time Travels to Cambridge University to Study Nietzsche and Plot the End of the World

Dear Centre for the Study of Existential Risk,

It’s rare to find folks willing to look sillier than me (an English professor who takes seriously the study of superheroes). Your hosting institution (Cambridge) dwarfs my tiny liberal arts college, and your collective degrees (Philosophy, Cosmology & Astrophysics, Theoretical Physics) and CV (dozens of books, hundreds of essays, and, oh yeah, Skype) makes me look like an under-achieving high schooler—which I was when the scifi classic The Terminator was released in 1984.

The Terminator

And yet it’s you, not me, taking James Cameron’s robot holocaust seriously. Or, as you urge: “stop treating intelligent machines as the stuff of science fiction, and start thinking of them as a part of the reality that we or our descendants may actually confront.”

So, to clarify, by “existential risk,” you don’t mean the soul-wrenching ennui kind. We’re talking the extinction of the human race. So Bravo. With all the press drones are getting lately, those hovering Skynet bombers don’t look so farfetched anymore.

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Your website went online this winter, and to help the cause, I enlisted my book club to peruse the introductory links of articles and lectures on your “Resources & reading” page. It’s good stuff, but I think you should expand the list a bit. It’s all written from the 21st century. And yet the century you seem most aligned with is the 19th.

I know, barring some steampunk time travel plot, it’s unlikely the Victorians are going to invent the Matrix. But reading your admonitory essays, I sense you’ve set the controls on your own time machine in the wrong direction. It was H.G. Wells who warned in 1891 of the “Coming Beast,” “some now humble creature” that “Nature is, in unsuspected obscurity, equipping . . . with wider possibilities of appetite, endurance, or destruction, to rise in the fullness of time and sweep homo away.” Your stuff of science fiction isn’t William Gibson’s but Mary Shelley’s. The author of Frankenstein warned in 1818 that “a race of devils would be propagated upon the earth, who might make the very existence of the species of man a condition precarious and full of terror.”

early Frankenstein illustration

Although today’s lowly machines pose no real competitive threat (it’s still easier to teach my sixteen-year-old daughter how to drive a car), your A.-I.-dominated future simmers with similar anxiety: “Would we be humans surviving (or not) in an environment in which superior machine intelligences had taken the reins, to speak?” As early as 2030, you prophesize “life as we know it getting replaced by more advanced life,” asking whether we should view “the future beings as our descendants or our conquerors.”

Either answer is a product of the same, oddly applied paradigm: Evolution.

Why do you talk about technology as a species?

Darwin quietly co-authors much of your analysis: “we risk yielding control over the planet to intelligences that are simply indifferent to us . . . just ask gorillas how it feels to compete for resources with the most intelligent species – the reason they are going extinct is not (on the whole) because humans are actively hostile towards them, but because we control the environment in ways that are detrimental to their continuing survival.”Natural selection is an allegory, yet you posit literally that our “most powerful 21st-century technologies – robotics, genetic engineering, and nanotech – are threatening to make humans an endangered species.”

I’m not arguing that these technologies are not as potentially harmful as you suggest. But talking about those potentials in Darwinistic terms (while viscerally effective) drags some unintended and unacknowledged baggage into the conversation. To express your fears, you stumble into the rhetoric of miscegenation and eugenics.

To borrow a postcolonial term, you talk about A.I. as if it’s a racial other, the nonhuman flipside of your us-them dichotomy. You worry “how we can best coexist with them,” alarmed because there’s “no reason to think that intelligent machines would share our values.” You describe technological enhancement as a slippery slope that could jeopardize human purity. You present the possibility that we are “going to become robots or fuse with robots.” Our seemingly harmless smartphones could lead to smart glasses and then brain implants, ending with humans “merging with super-intelligent computers.” Moreover, “Even if we humans nominally merge with such machines, we might have no guarantees whatsoever about the ultimate outcome, making it feel less like a merger and more like a hostile corporate takeover.” As result, “our humanity may well be lost.”

In other words, those dirty, mudblood cyborgs want to destroy our way of life.

Once we allow machines to fornicate with our women, their half-breed offspring could become “in some sense entirely posthuman.” Even if they think of themselves “as descendants of humans,” these new robo-mongrels may not share our goals (“love, happiness”) and may look down at us as indifferently as we regard “bugs on the windscreen.”

“Posthuman” sounds futuristic, but it’s another 19th century throwback. Before George Bernard Shaw rendered “Ubermensch” as “Superman,” Nietzsche’s first translator went with “beyond-man.” “Posthuman” is an equally apt fit.

When you warn us not to fall victim to the “comforting” thought that these future species will be “just like us, but smarter,” do you know you’re paraphrasing Shaw? He declared in 1903 that “contemporary Man” will “make no objection to the production of a race of [Supermen], because he will imagine them, not as true Supermen, but as himself endowed with infinite brains.” Shaw, like you, argued that the Superman will not share our human values: he “will snap his superfingers at all Man’s present trumpery ideals of right, duty, honor, justice, religion, even decency, and accept moral obligations beyond present human endurance.”

Shaw, oddly, thought this was a good thing. He, like Wells, believed in scientific breeding, the brave new thing that, like the fledgling technologies you envision, promised to transform the human race into something superior. It didn’t. But Nazi Germany gave it their best shot.

You quote the wrong line from Nietzsche (“The truth that science seeks can certainly be considered a dangerous substitute for God if it is likely to lead to our extinction”). Add Also Spake Zarathustra to your “Resources & reading” instead. Zarathustra advocates for the future you most fear, one in which “Man is something that is to be surpassed,” and so we bring about our end by creating the race that replaces us. “What is the ape to man?” asks Zarathustra, “A laughing-stock, a thing of shame. And just the same shall man be to the Superman: a laughing-stock, a thing of shame.”

Sounds like an existential risk to me.

And that’s the problem. In an attempt to map our future, you’re stumbling down the abandoned ant trails of our ugliest pasts. I think we can agree it’s a bad thing to accidentally conjure the specters of scientific racism and Adolf Hitler, but if your concerns are right, the problem is significantly bigger. We’re barreling blindly into territory that needs to be charted. So, yes, please start charting, but remember, the more your 21st century resembles the 19th, the more likely you’re getting everything wrong.