Posts Tagged ‘obscenity’
“Every history is a map”*…
How does one visualize history and chart time? Is it a line, moving forever outward in one direction? A Grecian temple, as Emma Willard envisioned, with Ionic columns representing centuries, receding from view toward a vanishing point at the world’s origin? Or could it be a corkscrew ascending upward, allowing us to look down from our present position into past events similar to our own?
For the Polish educator Antoni Jażwiński, history was best represented by an abstract grid — or at least it was for the purposes of remembering it. The so-called “Polish System” originated in the 1820s and was later brought to public attention in the 1830s and 1840s by General Józef Bem, a military engineer with a penchant for mnemonics. As Anthony Grafton and Daniel Rosenberg catalogue in their Cartographies of Time, the nineteenth century brimmed with new methods and technologies for committing historical information to memory — and Jażwiński’s contribution (and its later adaptations) proved one of the most popular.
The Polish System — which almost anticipates Piet Mondrian’s abstract checkerboards and the wider modernist fascination with grid figures — coupled chronology to the map-making traditions of geography. In Jażwiński’s original chart, each main 10×10 box is a century and the rows separate decades. Within a century box, each individual square is a year, each color a nation (with shading for different monarchs or governments), and symbols can stand for marriages, wars, treaties, and other types of events. Should one become proficient with this system, they can peer down on the history of the world, summarized on a surface not much larger than a chessboard…
More on this proto-modernist memory palace: “Visualizing History: The Polish System.”
* Jacob Bronowski
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As we picture the past, we might recall that it was on this date in 1965 that the FBI Laboratory declared the lyrics of Louie Louie to be officially “unintelligible at any speed.”
In February 1964, an outraged parent wrote to Robert F. Kennedy, then the Attorney General of the U.S., alleging that the lyrics of “Louie Louie” were obscene, suggesting that “The lyrics are so filthy that I can-not [sic] enclose them in this letter.” The Federal Bureau of Investigation investigated the complaint, and looked into the various rumors of “real lyrics” that were circulating among teenagers. In June 1965, the FBI laboratory obtained a copy of the Kingsmen recording and, after 31 months of investigation, concluded that it could not be interpreted– and therefore that the Bureau could not find that the recording was obscene.
In September 1965, an FBI agent interviewed one member of the Kingsmen, who denied that there was any obscenity in the song. The FBI never interviewed songwriter Richard Berry nor consulted the actual lyrics that were on file with the U.S. Copyright Office.
Snopes suggests that while some teenage mondegreens were indeed pretty filthy, the song itself was clean.
“In a free market the people are free, the ideas are locked up”*…
Back when I first studied gift exchange, I dismissed its economic importance—after all, it reflects only a tiny portion of all our transactions. Perhaps it might interest an anthropologist, but only as a kind of curiosity item, a refreshing but impractical alternative to the real substance of economic life. But as I see it now, the gift economy is much larger than I realized—in fact, it’s almost as large as the transaction-based economy. For a start, I’ve seen its predominance in my own life. My wife and I don’t charge my children for their meals or the hours of service we provide them. My friends dealing with elder care or community service or church activities operate off-the-grid, so to speak—at least from a conventional economic perspective. These are gift exchanges, pure and simple, and they are everywhere you look, even in a modern capitalist society.
But I’m concerned here with a different class of activities, ones that straddle these two spheres—and are hard to classify for that very reason. Artistic or creative pursuits, endeavors that are typically pursued for the intrinsic joy of sharing one’s gifts, are also frequently commoditized and placed on the market. Are they part of the gift economy or the transaction economy?…
The estimable Ted Gioia explores: “Gratuity: Who Gets Paid When Art Is Free.”
[image above: source]
* Lewis Hyde, The Gift: Creativity and the Artist in the Modern World
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As we share and share alike, we might recall that it was on this date in 1927 that Mae West was sentenced to 10 days in a workhouse on Roosevelt Island (known then as “Welfare Island”) and fined $500 for obscenity for her play Sex… despite the fact that the play had run over a year before the police raided, and had been seen by 325,000 people– including members of the police department and their wives, judges of the criminal courts, and seven members of the district attorney’s staff.
In the event, she served eight days of her sentence, receiving two days off of time for “good behavior”– and the resulting publicity did great things for Ms. West’s notoriety nationwide.
“Under certain circumstances, profanity provides a relief denied even to prayer”*…
Ofcom, the government regulator of communications in the U.K., recently commissioned research into the relative offensiveness of 150 obscene words and gestures, as a basis for its regulations on content.
The “Quick Reference Guide” is here; the full report, here. As the cover of each notes: “Warning: this guide contains a wide range of words which may cause offence.”
* Mark Twain
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As we titter, we might recall that it was on this date in 1886 that the “tuxedo” made it’s debut, at a formal ball at the then-new Tuxedo Park Club, just outside of New York City.
Earlier that year, Tuxedo Park resident James Brown Potter and his wife were vacationing in England, where they were invited to dinner by the Prince of Wales (later Edward VII). Unprepared to dress for such an occasion, Potter asked the Prince for advice, and was sent to the the Prince’s tailor, Henry Poole & Co., where he was fitted with a short black jacket and black tie– not the then-standard white tie and tails.
Potter brought the ensemble back to Tuxedo Park, where he showed it to Pierre Lorillard IV, the scion of a wealthy tobacco family, who had just opened the Tuxedo Park Club– and whose passion was designing clothes. Lorillard revised the design to include the crepe lapels, covered buttons, and other now-standard details, and unveiled his creation at the Autumn Ball.
The prospect of liberation from tails proved irresistible– and the “tuxedo” steadily replaced traditional “evening wear” as the American formal standard. (Edward continued to wear “black tie,” so the fashion caught on in England too– as the “dinner jacket”– but remained a less formal option…)
Lorillard (in his jacket, but with a white tie)
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