“And I Feel Like I’m a Rider/on a Downbound Train”
November 2, 2009 at 10:15 pm | In Uncategorized | 1 CommentI know that it’s probably an exaggeration to say that I wouldn’t have been able to write as much as I’ve written on my thesis by now if it hadn’t been for Bruce Springsteen. Nevertheless, that’s how I feel. For some reason writing while I listen to opera music doesn’t work for me, as much as I’d like it to. The changes in tempi make me lose my focus, and then I also tend to get caught up in the story of the opera, and have to really concentrate on not singing along on the various parts. And there’s a limit to how much work you get done when you’re busy going: “Non seeeeei mia figlia! Dei Faraoooooni, tu sei la SCHIAVA!!11!”.
So when I started writing my thesis, I tried out something else entirely, namely Bruce Springsteen, and as it turned out, it worked incredibly well. The steady beat tends to provide me with a certain drive while I’m writing, and then the mood is just perfect for thesis-writing. Bruce Springsteen writes his music for the Little Man in Society, and boy do you tend to feel like the Little Man in Society when you’re writing your master thesis. At least on the bad days. On the good days you can just tune into more optimistic songs, such as “Waitin’ on a Sunny Day”.
I wrote a post back in September celebrating The Boss’ 60th birthday, but it turns out that there’s another Bruce-related anniversary to be celebrated this year: The album Born in the U.S.A. was released 25 years ago, and Kåre sent me a link to this very interesting Boston Globe cartoon in which artist Ward Sutton explores the 25-year legacy of the album.
Ward Sutton’s cartoon, which I think is excellent, obviously displays a critical approach towards the album, with which he thinks Bruce Springsteen fell between two stools by presenting critism of society in a harmless rock n’roll attire, rich with luxurious synthesizer sounds. As a result, Springsteen fans have since viewed Born in the U.S.A. as Springsteen’s big sell-out, while people less familiar with Springsteen’s oeuvre (and liberal politics) have misunderstood Springsteen’s message and taken the title number to be a tribute to America when it is, in fact, the opposite. Most famously, repbulican Ronald Reagan misunderstood the meaning of ”Born in the U.S.A.” and used the song in his presidential campaign.
I agree with Suddon’s points, to a limited extent. I really dislike the silly “Darlington County”, I’m only slowly getting used to the rockabilly-ish “Working on the Highway”, and I don’t think never get used to the cheesy video for “I’m on Fire” in which Bruce plays a stud of a horny mechanic (which is a shame, because that song is so good. Johnny Cash also did a terrific cover of it). Suddon also critizes Springsteen’s new buff, bandana-ed looks on the album, which he compares to those of Stallone in Rambo, and yes, I’ll admit that I think Springsteen was infinitely more sexy and appealing during his earlier period, like on Darkness on the Edge of Town, where he was a scrawny, broody-looking type of guy with big, soulful eyes:

But you will never get me to say that Born in the U.S.A. was a mistake on Bruce’s part, or even a sell-out, not by a long-shot. Suddon’s criticism is rooted in the fact that the title song on the album was originally supposed to have been included on Nebraska, Springsteen’s famousalbum, consisting mainly of demo-tracks records with very simple accompaniment, usually only a guitar and a harmonica (played by Springsteen himself). I think Nebraska is a fantastic album, and that it was an important album, but I don’t think that this necessarily makes Born in the U.S.A. a mistake. On the contrary, I think it would have been less true to the ideals that Springsteen represents, from what I know of Springsteen, if he had continued solely in the musical style of Nebraska. To me, Springsteen is an inclusive musician and that is exactly what the pop-like sound on Born in the U.S.A. is about. Springsteen is an artist who is critical of society and sympathetic towards the Little Man, almost a protest singer like Dylan, to be sure, and Nebraska serves its purpose in that respect, establishing him in this part. But he is also, I believe, a musician who wants to make music that the Little Man can kick back and enjoy after a long hard day, which Born in the U.S.A. is all about to me. Springsteen is an unpretentious musician, with all that implies, including a popular sound to his music. If the Little Man is able to recognize his own struggle in the poignant lyrics behind the cool-rockin’-daddy sound, well, all the better then.
And even if you don’t agree with me on this, I would say that there are songs on Born in the U.S.A. that are so incredibly powerful that they in themselves ought to justify the album’s existence even to its most fervent critics. Such a song is “Downbound Train”:
This song is simply a masterpiece. And the funny thing is that a friend of mine, (who is also possibly the biggest Springsteen fan I know), recently played an earlier version of the song from Bruce Springsteen – The Lost Masters, which was supposed to have been included on the Nebraska album, and it wasn’t nearly as powerful in this version as it is on Born in the U.S.A. In the final version, the synthesizers make the song sound nothing like a meaningless, harmless pop song. Instead they bring out the melancholy tune, especially in the verse about the persona’s dream and his running through the woods, trying to reach his lost girlfriend. And the drums with their steady, aggressive beat help to accentuate the over-all feeling displayed in the haunting lyrics, which, to me, is a feeling of helplessness. In typical Springsteen narrative style, the protagonist of the song seems to owe most of his misery to events out of his control – the fact that he lost his job in particular, and, by extension, the fact that his girlfriend left him. And the main motif of the train works so well to illustrate this point, I think. The main character is not steering a downbound train, he’s simply a rider on it, and there seems to be nothing he can do about it. The devestating use of the train whistle as a motif supports this theme, denoting the departure of a train that he just wants to stop, and ties together with both the allegorical level with the persona as a rider on a “downbound train”, and with the only too concrete level where the persona’s girlfriend buys a ticket on the central line, and leaves him.
If you’re skeptical of Bruce Springsteen and think of him mostly as a giddy, harmless Rambo-like pop-rock musician, and you haven’t already heard “Downbound Train”, you should do so immediately. And make sure to read the lyrics as you listen to the music. They can be found here.
Apologies
August 11, 2009 at 6:07 am | In Uncategorized | Leave a CommentAssuming that I still have any readers left, I am so sorry that I haven’t updated in so long. I’m alive and well, but I’ve been busy. I’m going to work, and writing my thesis, and then (and this is the real killer) The Boyfriend and I are renovating our kitchen, and it’s been going on for more than a month now, and it’s such an exhausting project (despite the fact that The Boyfriend is the one doing all the actual work – I have little to no practical skills), and I simply haven’t had a lot of time nor energy for blogging. But the kitchen ought to be done very soon now (as in tomorrow, hopefully), and I’ll get back to updating on a regular basis. In the meantime, I thank you for your patience.
“And I’ve mostly been lit from behind”
June 23, 2009 at 6:16 am | In Uncategorized | Leave a CommentEcstatic after having finished my exam yesterday (and it went really well!), I’m now allowing myself a week off from studies, before I start working on my thesis, and I hope to be able to catch up on my blogging during this week – these past few weeks have left me little time to do that because I’ve been so busy and stressed out.
And here’s something I thought you might enjoy: Bloggasm has managed to get an interview with the creator of the Literal Video Version of the “Total Eclipse of the Heart” that I posted a couple of weeks ago. An interesting read! I’m already looking forward to David Scott’s take on Air Supply.
To Damascus
May 7, 2009 at 5:47 pm | In Uncategorized | Leave a CommentThings are going to be quiet at the blog for the next week or so, because tomorrow I’m going to Damascus! The Boyfriend and I are visiting some friends who are staying there at the moment, and I can’t wait. That is, if we don’t get held up at the airport as suspected bearers of the swine flu. Both The Boyfriend and I have been unfortunate enough to catch a bad cold, and we’ve spent the past two days in bed, trying to recover from it. But I think we’re finally better now and almost ready to go.
See you in a week! Hopefully I’ll have lots of lovely pictures from Syria to share with you all by then.
Listening to: Siegfried Funeral March
March 21, 2009 at 4:38 pm | In Uncategorized | 1 CommentAn aquaintance in my facebook network posted a link to this video today.
Man. Just… wow. I have nothing very interesting or insightful to say about the music at this moment; it’s just that it’s been a while since I last listened to Wagner’s Ring cycle, and the beauty and magnitude of the music really overwhelmed me. So I wanted to share it with you.
This Winter… Horror Has a New Home
March 17, 2009 at 6:40 pm | In Uncategorized | Leave a CommentFollowing up on my analysis last week of the infamous Mime Rapist episode of Little House on the Prairie, here’s a wonderful video I happened upon on yesterday:
Genius. Pure and simple. The best part is that the trailer is cut so intriguingly that I’d totally watch this horror flick if it were real. Although I do think that the Mime Rapist should have had at least one cameo. And the editor might alos have included the shot of Ingalls’ neighbour Alice Garvey as she used Mary’s baby boy as a battering ram when trying to get out of the burning school for the blind in that season 6 episode (I am not making this up).
Reason # 120.879 why I Love the Internet:
March 15, 2009 at 3:14 pm | In Uncategorized | Leave a CommentThe fact that it enables you to stumble upon random hidden treasures such as the California Raisins Go to College – Coloring Book.
Be sure to read the highly amusing captions that the blogger made for the college adventures of the wrinkly, fruity protagonist. Awesome.
The Tableau and The Immobile Woman: Mary Chapman’s “‘Living Pictures’”
October 17, 2008 at 1:51 pm | In Art, Literature, Uncategorized | Leave a CommentHaving previously blogged about the concept of Tableaux Vivants in literature, I have become so interested in the phenomenon that I am currently writing a university paper on the subject. While researching, I’ve come across a very intersting study on Tableaux Vivants, namely Mary Chapman’s “‘Living Pictures’: Women and Tableaux Vivants in 19th Century Fiction”.
Written in 1996, Chapman’s article is a very insightful and inspired account of the introduction of the Tableau Vivant tradition in 19th century America and the way it reflected gender roles at the time, and I regret that I didn’t know of the article when I wrote my blog entry on the subject.
Chapman has studied not only fictional descriptions of the tableaux (such as The House of Mirth and “Behind a Mash or A Woman’s Power”), but also authentic manuals that instructed the American middle class in the art of the tableau. Very poignantly, Chapman combines her historical research with an interesting contemporary angle to the phenomenon of the tableau by using feminist film theory such as Linda Williams’ article “When the Woman Looks” from Re-vision: Essays in Feminist Film Criticisms. Chapman uses these theoretics to study the importance of the glance in tableaux vivants: The keen gaze of the (almost always) male spectator, and the gaze of the woman that is obviously considered a tabu; the result being that the tableau-ified, performing women are instructed by the manuals to cast down their gazes modestly and humbly, a posture that fits well the predominant tableau roles for women: Submissive, dying virgins.
It’s an alarming and interesting image of ideal woman that emerges from the study: A silent, submissive, immobile woman who’s deathlike stillness is only emphasized by the fact that the character she’s portraying is often a dying virgin.
Chapman’s article is a most interesting read and has been very helpful to my studies. I recommend the article to anyone interested in tableaux vivants – or simply in gender studies.
/marie
When Humanities Graduates Graffiti
October 7, 2008 at 1:16 pm | In Uncategorized | Leave a CommentHere’s something I’ve been wanting to post for the longest time: It’s a picture I snapped on a bleak Spring day earlier this year, coming out of the Humanities Faculty in Copenhagen after a lecture. The picture shows an abandoned house next to the Faculty and, more importantly, it shows a graffiti text that reads (in Danish) “FOUCAULT IS GAY”
It just cracked me up. The statement works, of course, on several levels. And where else in the world, other than outside of a humanities faculty building, would you find this kind of graffiti?

/marie
Top 5 Scariest Movie Scenes from Non-Horror Movies
September 23, 2008 at 9:13 pm | In From the Blogroll, Indiana Jones, Internet Findings, Movies, Pop Culture, Top 5/Top 10, youtube | 1 CommentOne of my favourite sites is the Retro Crush Top 100 Scariest Movie scenes. Granted, I usually have a hard time falling asleep at night after I’ve visited the site, but masochist that I am I enjoy it anyway. The site is a fun read and a great inspiration if you’re ever going to host a horror flick slumber party or a Halloween party or the like.
Also, as a blogger, I’m in awe at the thought of all the work Robert Berry, the author of the list, must have gone through…! Not just watching the horror movies, but also finding an individual place for each scary scene on a scale of 1 to 100. And I have to admire his short descriptions, efficiently coupled with excellent movie stills. There are a lot of the movies that he mentions that I’ve never seen, but his great eye for horror has helped him pick out some gruelling stills that I find truly haunting, even without knowing the context of the movie. Very well done.
I’ve been wanting for some time to do a list of Scariest Movie Scenes of my own. But as I sat down to brainstorm for the list, I discovered something peculiar: None of the movie scenes that had scared me the most were from actual horror movies! Retrocrush lists a few non-horror movie scenes as well, but they don’t take up his entire Top 5 the way they do for me.
I thought that was interesting. Does it mean that I haven’t watched enough horror flicks in my time? Or is it simply that it is easier to be scared by scary scenes in a non-horror movie, because the horror comes unexpectedly? I don’t know, but after I was consoled by this fine youtube video with the knowledge that it’s normal to be scared of non-horror movie scenes, I thought I’d present you with my list nevertheless. So here goes:
5. The Dead Baby Crawls Across the Ceiling During Renton’s Trip-Out in Trainspotting
I regret that my memory is somewhat foggy when it comes to Trainspotting on the whole; I watched it in English class in high school ten years ago and I haven’t seen it since. But still, this one scene stands out to me very vividly as one of the scariest movie scenes I’ve ever seen.

It’s the scene where the main character, Renton (Ewan McGregor) is in bed after having gone off drugs cold turkey and is having a series of terrifying hallucinations as the drugs leave his system. His terror culminates as he stares up at the ceiling to find that Dawn, his friend Allison’s baby girl who has died in an earlier scene, is crawling towards him across the ceiling, upside down. As the baby is just above him it stops and spins its head around to look at him.
You can see the scene here:
I don’t think it’s as scary out of context as it was when I watched the movie in its entirety, though. Most of the horror does not stem from the images of the scene in themselves, but from the scene earlier on when Renton and his friends find that the baby has died (supposedly from neglect) while they’ve been out of their minds on drugs.
I was sleepless for a night after my teacher showed us the movie at school. I remember my teacher looking very pale and white the next day and apologizing to us that she didn’t know that the movie was going to be that intense, and I wondered if she’d been insomniac, too.
4. Bringing in the Frozen Fishermen: Pelle the Conqueror
When I was a kid in the 80s, Pelle the Conqueror was all the rage in Denmark. Made by Danish director Bille August, it won both the ”Golden Palms” award at Cannes and the Academy Award in the category “Best Foreign Language Movie” in 1989, and the whole thing really tickled the Danish pride and Pelle the Conqueror became a Danish must-see. Indeed, Pelle the Conqueror is a great movie, depicting brutally and heart-wrenchingly the early life of young boy Swedish Pelle and his old father Lasse (ever amazing Max von Sydow) who immegrate to the Danish island Bornholm after the death of Pelle’s mother.
Despite its young protagonist the film is not, however, a kids’ movie, and I still think it was a really bad idea of my parents to let me watch the movie with them when I was about six years old. The drama holds several incredibly scary scenes, including children being whipped, infanticide, and a man screaming in agony after having been castrated by his wife (!).
However, the scene that stands out to me as the most scary is the scene where Pelle witnesses three dead fishermen being recovered from the icy sea after having supposedly frozen to death in their boats.
(the scene starts at 7:28 in the below video)
The cameo of the three frozen bodies is actually pretty easy to miss: The main focus of the scene is Pelle who is being bullied by his school mates, and the bodies are not even mentioned by anyone. But as it often goes with horror in movies, the suggestion of something terrible is far mor startling than explicit gore, and the discrete image of the frozen bodies scared the living daylights out of me when I first watched this movie and had my imagination working overtime: Who were those fishermen? What were they even doing out there on sea? Were they really in a position where they had to go fishing, even when the sea was frozen?
It’s a brilliant move on director August’s part, in that it subtly hints at the hardships of the poor people that are Pelle the Conqueror’s main characters and the brutality of Nature which is an ungoing theme in the movie. Furthermore, the frozen bodies present the icy sea to us as a freezing killer, thus setting the scene perfectly for the shock when Pelle jumps into the water, eager to prove his worth to the bullying boys. And take care to note the excellent effect of the soundtrack: As soon as we catch the first glimpse of the bodies, a shrill note from a string starts up, at the same time creating an icy, bone-chilling atmosphere around the macabre recovery and building up the tension between Pelle and the boys, releasing it only after Pelle’s near-fatal jump.
Still, I’m not sure I’ll ever completely forgive Bille August for the chilling scare he gave my six-year-old self.
3. “Guess again!”: The Nazi Guy Picks the Wrong Grail in Indiana Jones and the Last Crusade
When I was a kid I liked Indiana Jones a lot. I watched Temple of Doom several times during my childhood and while I was grossed out by some elements (like the eye-soup/monkey brain thing), I mostly found the adventure movie entertaining and enjoyable. I guess that was probably why my parents figured it would be OK for me to watch the third movie, The Last Crusade when it came on when I was about nine or ten.
That proved to be a mistake, though. Not that I didn’t like it; I loved it, especially the depiction of Indy’s relationship to his father. But there was one scene that simply proved too much for my young self to take: the Wrong Grail scene.
Indiana Jones has made it to the temple that is supposed to house the Holy Grail, and Indy is desperate to find the grail because his father Henry (the one and only Sean Connery. *Le sigh*.) has been fatally wounded and only the holiness of the Grail may cure him. Unfortunately, Indy’s followed by evil Nazis Donovan and Elsa who want to get their greedy hands on the grail, too, and when the knight that guards the grail asks them to identify the true grail among a selection of false cups, Elsa picks the most flashy-looking cup and offers it to Donovan. Donovan drinks from it, despite the knight’s warning that the false cup may take his life, and this is when things get scary: Immediately after drinking from the grail, Donovan starts aging rapidly! He grabs a screaming Elsa’s shoulder and stammeringly asks her what’s happening, all the while his cheeks hollow, his hair grows, he skin wrinkles and cracks, his eyes pop out, and finally his skeleton falls to the ground.
Watching this as a child, I was horrified. I duck down under a plaid I had wrapped around me, and didn’t come out until the movie had ended. And even so, I couldn’t sleep that night, and I was deeply traumatized and I have never really gotten over it. My brother still enjoys grabbing my shoulder and grunting “What’s… happening… to me…??!!” just to freak me out.
And it still does freak me out. People keep telling me that if I just watch the scene again, I would realize how poorly the scene was done, that the whole thing looks like clamation, and then I wouldn’t be scared of it anymore. But again; horror is often less about great and gory special effects and more about suggestion. The suggestion of a situation where a man ages a decade and dies in a matter of seconds is gruesome to me, and the fact that he is conscious during the process and (at least vaguely) aware of what is happening just tops it. Brrrr.
Brutally scary, and I’ll never, ever watch the scene again. I may re-watch the movie, but I’ll cover my eyes and ears during that scene. In fact I didn’t even re-watch it while writing this post. So if I didn’t recount the scene correctly I apologize, but I’m not going to set myself straight.
2. “What do I look like, a jack-ass??” The Donkey Metamorphosis Scene in Pinocchio

Surprisingly, this one is not a scene that freaked me out as a kid. You see, when I was a little girl I had a weird fixation on metamorphoses, and I loved the idea of being turned into an animal. I’m not sure why, but I did. And so I actually thought it was pretty cool when the little boys in Pinocchio were turned into donkeys, and even rather envied them.
Much has changed since then, however, and when I re-watched Pinocchio a couple of years ago, I couldn’t believe that I’d ever enjoyed that particular scene. Truly this is the most inappropriate and disturbing scene ever to be found in a Disney movie. Retrocrush’s list includes the Pink Elephant Trip-out Scene in Dumbo, but to me that one is not even close to be as scary as the horrors that are found in Pinnochio.
The scene takes place as Pinocchio, along with dozens of other pre-adolescent boys, has been lured off to Pleasure Island where they get to drink beer, smoke cigars, ride merry-go-rounds, play billiards and do nothing useful all day. What they don’t know, however, is that this pleasance bears a terrible price…
Gaah! Dude! The dramaturgy of the scene where Lampwick slowly but surely realizes that he’s turning into a donkey and pleads Pinocchio for help is ridiculously scary. I’m especially freaked out by the shot of Lampwick lifting up his hands helplessly, only to see them turned into donkey’s hooves. And of course the juxtaposition of Jiminy’s witnessing the poor donkeys getting shipped off in boxes like merchandise (supposedly to be used for hard labour) only adds to the horror as it shows us Pinnochio’s and Lampwick’s prospects after their transformation. Not to mention: What exactly happened to poor kids like little Alexander who were still human enough to be able to speak??
Truly a scarred-for-life moment. And regardless of my fascination with this scene as a kid, I don’t think I’ll ever let any kid of my own watch this movie.
1. Cardboard Ted Danson Stands by the Window in Three Men and a Baby
Yes, yes, go ahead and mock me. The scariest scene I’ve ever seen is from 1987 comedy Three Men and a Baby. I really, really wish I were kidding about this, but I’m not. It’s true.
But how did an innocent comedy about three men who are charged with the responsibility of taking care of an infant scare me? Well, the thing is that I believed the urban legend that surfaced in 1990, according to which a ghost boy makes an appearance in one of the movie’s scenes. In the scene where Ted Danson has invited his mother over and is trying to convince her to take care of baby Mary (whom he unwittingly fathered), a strange figure, looking rather like a boy of about 10 years, may be seen in the background, standing by the window, contemplating the two thespians and the baby.
The eerie apparation wasn’t noticed until the movie was released on video tape, but then it got a lot of attention. It was even made subject of a Danish prime-time talk show which was how I found out about it. I refused to sleep in my own bed for two nights afterwards, convinced that if I looked towards the window, I’d find the ghost boy standing there, staring back at me. I never really got over it, and I found it hard to shrug off my fears the way I’d usually do if I’d been scared by a movie. Because what made this scene so scary was that if the rumours were true, the scare factor had nothing to do with a director wanting to scare his audience by making a effectively constructing a scary scene (as the scene was clearly directed as a humourous one) and everything to do with the miserable, restless soul of a dead boy. And even worse, if the rumours were true, then the scene was possibly proof that unhappy dead people like that boy were all around us, sadly contemplating us.
Of course it turned out that it was simply a cardboard cut-out of Ted Danson’s likeness, a prop that had been left in the scene by mistake. I know this now. And yet – when I tried to watch this scene again recently, I found that I was pretty much every bit I freaked out as I was as a seven-year-old. I guess there’ll always be that small part of me that wonders if that wasn’t really a ghost.
Or possibly I just have an irrational fear of cardboard representations of Ted Danson that I don’t know about. Could be.
/marie
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