Documente Academic
Documente Profesional
Documente Cultură
Hardcore'
Author(s): Nicola Dibben
Source: Journal of the Royal Musical Association, Vol. 126, No. 1 (2001), pp. 83-106
Published by: Taylor & Francis, Ltd. on behalf of the Royal Musical Association
Stable URL: http://www.jstor.org/stable/3557514 .
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All of my life I've been an observer,not only of films and TV, but of life,
and then as soon as you get that form of public acceptance, then you are
somebodyelse's show.You'reactuallypart of the action on the screen....
That'swhythere'sa bit of an obsessionwithit on the record.It'scomparing
whatit waslike as a spectatorand whatit's like being part of the action, and
that'salwaysgoing to be a bit of a disappointment.1
THEcover art to Sheffield pop band Pulp's recent album This is Hardcorehas many of the properties of pornographic images.2 The surroundings and visual appearance of the people in the cover art
combine sophistication with the seediness of pick-up joints and escort
girls. The digitized treatment of the images gives them a hyper-reality,
and the waxed finish and lurid colour combinations (pink typography
against a black background) hint at overly glossy production values and
form a jarring juxtaposition with the banality of some of the images.
The 'centrefold' is a hyper-real, overly glossy photograph of Jarvis
Cocker alongside model/actorJohn Huntley, with all the glamour of a
matinee idol. This hyper-reality is explicit in its simulation of the real.3
Many of the photographs feature semi-naked women in ambivalent
situations. For example, the front cover, which also featured as a poster
campaign on the album's release, shows a naked woman lying facedown on a red leather couch in an awkward position (the poster
received a hostile public reaction and was decried in the national press
as offensive and degrading to women).4 Another of the photographs
This research was carried out with the support of a British Academy Postdoctoral Fellowship.
Earlier versions of this paper were presented as 'Pulp, Pornography and Voyeurism' at the conference 'Popular Music and the Media: Television, Video and Film' (Sheffield Hallam University,
July 1999) and as 'Construction and Critique of the Authentic Pop Icon' at the Critical Musicology Forum (University of Surrey,July 2000).
1Jarvis Cocker, cited in Michael Krugman, 'Deconstructing Jarvis', Raygun (http://
members.tripod.com/-CleverSwine/nojava/raygun2.html, 30 June 1998).
2 Pulp, This is Hardcore(Island CID 8066/524 486-2, 1998). The cover art is by New York artist
John Currin (an artist who portrays ageing playboys and improbably fulsome women in hyperrealistic style); photographs by Horst Diekgerdes; computer-enhanced by Peter Saville.
3 See, for example, Baudrillard's account of how images produce reality rather than copy it
(Jean Baudrillard, SelectedWritings,ed. and introduced by Mark Poster, Cambridge, 1988).
4 For an account of the poster's reception and its relationship to the tide track of the album,
see Eric F. Clarke and Nicola Dibben, 'Sex, Pulp and Critique', PopularMusic, 19 (2000), 231-41.
84
NICOLA DIBBEN
Figure 1. Photograph from the cover art to Pulp's album Thisis Hardcore.Photograph
by Horst Diekgerdes, reproduced by permission of Universal-Island Records Ltd.
to conform most closely to a pornographic image is that of two scantily clad women embracing (see Figure 1). As in the case of lesbian
scenes in pornographic material, the gaze at women enjoying each
other sexually here functions less to celebrate women's mutual enjoyment of each other than to place it on display for a male spectator (a
male band member is seated ambivalently behind the women).
Two main types of conventional imagery have been identified in softcore porn: the 'caught unawares', in which the woman pictured
appears to have been caught in a moment of auto-eroticism, and the
'come-on', in which the woman invites the gaze.5 In the 'caught
unawares' a woman is shown alone, unaware that the camera is there:
her eyes are closed, or her head turned away,but the body is on display.
These kinds of images encourage voyeuristic pleasure by allowing the
spectator to look without the look being returned, and thus to fantasize that this is the kind of thing that would happen were the spectator
not present; yet at the same time the bodies in the photograph are
arranged as a display directed precisely at him: 'The women aredoing
it all for him, after all.'6 It is the one-to-one relationship between
onlooker and object, in which the object cannot return the onlooker's
5 Annette Kuhn, ThePowerof theImage:Essayson Representation
and Sexuality(London and New
York,1987).
6 Ibid., 33.
AND SPECTATORSHIP
PULP,PORNOGRAPHY
85
8 Sigmund Freud, On
Sexuality:ThreeEssays on the Theoryof Sexuality, and OtherWorks,trans.
86
NICOLA DIBBEN
. ..
Figure 2.
RecordsLtd.
reproducedby permissionof Universal-Island
by Horst Diekgerdes,
are far from unproblematic as regards the gaze. While the cover art of
the album provides structures of looking which seem to afford
scopophilic pleasure, it simultaneously undermines them by the presence, or implied presence, of a spectator analogous to the empirical
(i.e. the real) spectator of the cover art: for example, in the majority of
the photographs a band member is featured as an onlooker of the
action (as, for example, in Figure 1); and in the case of the album cover
(within which no onlooker is physically present) the declaration 'This
is Hardcore', printed across the photograph like a censor's stamp, indicates the presence of another (prior) spectator (see Figure 2). In both
cases, the presence of a spectator additional to the empirical spectator
turns the gaze back upon itself, denying it the power to structure the
visual field and undermining the illusion of omnipotence.12 The effect
of this is to problematize the empirical viewer's own voyeurism (both
of pornography and of Pulp's position within it).
The presence of another spectator within the frame, however, is not
by itself sufficient to preclude the viewer from an omnipotent viewpoint. Mulvey identifies two contradictory aspects of pleasurable
12 As Kramer remarks: 'Appropriation of the visual field
depends on a shared, tacit awareness
that the man who gazes can be seen to gaze. The visibility of the gazing eye is also its vulnerability.' Kramer, 'The Salome Complex', 274.
AND SPECTATORSHIP
PULP,PORNOGRAPHY
87
looking in film: on the one hand, pleasure comes from scopophilia the pleasure of looking in which the object is subjected to a controlling
gaze, and in which the erotic identity of gazer and object are separated;
on the other hand, there is a narcissistic identification with the object
on screen in which the woman displayed acts as an erotic object both
for the spectator and for the character on screen. Mulvey argues that
by identifying with the on-screen male the spectator gains control of
events and of the woman within the diegesis. In the case of the cover
art to the album, however, identification with the (male) band member
within each of the photographic images does not provide the comfortable omnipotence of the specular image: the band members are
themselves ambivalent spectators of the 'action' rather than in control
of events within the photoscene.
The effect of this disruption of the gaze is to make manifest a
paradox between the action implied by the photographs (viewer of
pornography as protagonist) and the real situation of the voyeur as
spectator of the 'action' rather than participant in it. This highlights
the paradox inherent in pornographic images themselves: while the
pleasure in the voyeuristic look is that the woman in the photograph
can never turn the viewer down because she is not real, it is because
she is not real that desire will always remain unsatisfied and the viewer
will remain a spectator rather than a protagonist. Thus, the emphasis
on the experience of pornography and fame from the position of spectatorship rather than participation conflicts with stereotyped conceptions of masculine subjectivity and sexuality on the one hand, and with
fame and stardom on the other (letting us look at Pulp's looking is
unusual, since pop stars are usually the product of a different form of
image manufacture).
It is by virtue of the way that media forms work with the gaze to
ideological ends that Althusser argues that ideology is not false consciousness but a material practice produced by ideological state apparatuses.13 As illustrated above, 'the gaze' is the structure of looking
created in a photograph or painting, represented in a text or practised
in social spaces, and is a prolonged or repeated look, often from a concealed position, by which the gazer scrutinizes another person or thing.
Media forms (such as television, film and photographs) work with the
gaze to ideological ends (by letting the viewers of an advertisement
think they are sovereign consumers, for example). According to this
reading, the focus of the cover art of the album, then, is structures of
representation, their mediation in highly alienated cultural forms, and
structures of subject position. The idea of music as a cultural agent,
now current in musicology,14 opens up the possibility that music may
also be implicated in the album's critique of cultural forms - both as
13 Louis Althusser, 'Ideology and Ideological State Apparatuses', Lenin and Philosophyand Other
Essays (London, 1971), 123-73.
14 See, for example,
Kramer, Music as CulturalPractice,1-20. Drawing on speech act theory,
Kramer argues that music is an act of expression/representation which can exert illocutionary
force; music is an agent of culture because it participates in cultural discourse through which
meanings are produced as part of the continual production and reproduction of culture.
88
NICOLA DIBBEN
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LI
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i-.
.
.
....
" '""
"
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by Horst
subject of that critique (as a media form itself) and as a means by which
that critique is presented. In this article I explore the album's critique
of spectatorship, first through its contribution to discourses of male
sexuality and stardom and, second, through the subject position it solicits. I start with an analysis of the first track from the album, 'The Fear'.15
'MUSIC FROM A BACHELOR'S DEN': CONSTRUCTIONS OF MASCULINITYIN 'THE
FEAR'
The photograph from the inside facing cover to Pulp's album This is
Hardcore(see Figure 3) features an archetype of white, heterosexual,
macho masculinity. The man portrayed has the archetypal square jaw
and dark hair, has a Rolex watch, and wears a hotel robe as if engaged
in a sexual encounter.16 Both the cover art and the lyrics reference a
15 'The Fear', words byJarvis Cocker, music byJarvis Cocker, Nick Banks, Candida Doyle, Steve
Mackey and Mark Webber. @ 1988 Universal/Island Music Ltd, 77 Fulham Palace Road, London
W6. Used by permission of Music Sales Ltd. All rights reserved. International copyright secured.
16 A similar image appears in the cover art to another album released the same year: Robbie
Williams's I've Been ExpectingYou (EMI CD 97837, 1998). An inner photograph shows Williams
dressed in a bathrobe, in a glamorous setting, looking directly into the camera. In this case,
however, the photograph is part of the album's self-conscious, tongue-in-cheek reference to the
world of the fictional characterJames Bond.
AND SPECTATORSHIP
PULP,PORNOGRAPHY
89
90
NICOLA DIBBEN
91
AND SPECTATORSHIP
PULP,PORNOGRAPHY
choir
0..keyboard
violins
(M4
mf
lead
guitar
rhythm
guitar
bass
guitar
5
voice
choir
kbd
vlns
lead
rhythm
aL/'
f'
"In
-:A
bass
,
as the lyrics state, 'The Fear' is literally 'a horror sound-track from a stagnant water-bed'.25Thus, while the lead guitar signifies machismo, the
accompanying lack of harmonic direction in 'The Fear' undermines
this macho image with one of futility, confusion and lack of purpose.
25 "'The Fear" - Yeah, well that was something I got some chords for while being on tour and
it's got a bit of a horror sound-track kind of feel to it.' Jarvis Cocker, 'Pulp from Disco to
Hardcore', BBC Radio 1, 1998/9.
92
NICOLA DIBBEN
Example 2.
mP
Given the minimal usage of the guitar in the verses (long, held
notes), the metrical precision and the lack of technical display, the
reference to cock-rock might seem tenuous; however, it is the instrumental solo which makes the strongest link to this genre of guitarplaying, where the macho meanings of the lead guitar are again
undermined - this time through the disintegration of the guitar solo.
In rock tracks the instrumental often features a solo lead guitar and
functions as an opportunity for virtuosic display.26As has been argued
elsewhere, virtuosic display acts as a signifier of machismo: control of
technology through mastery of an instrument, creative genius (improvisation over backing) and sexual display.27 However, in 'The Fear'
what starts as virtuosic display ends as incoherence and lack of control
(see Example 3). The lead-guitar solo starts with conventionally regular
phrasing and a tremolando playing style which demonstrates the guitarist's technical skill. It also begins a conventional elaboration of the
previously regular phrases with a climactic semiquaver descent in the
final phrase. However, this skilled descent soon turns into garbled loss
of control: the semiquaver pattern loses the internal regularity that
characterizes such soloistic passages, and the guitar plunges into distortion and feedback against the prevailing tonality and rhythmic structure. Most noticeably, it becomes dislocated from the ensemble, which
continues oblivious to the lead guitar: the lead guitar is revealed to be
26 See, for example, Status Quo, 'Most of the Time', On theLevel
(Capital LP 11381, 1975).
27 See cultural discourse, both past and present, which talks of music and musicians in these
terms; for example, Robert Walser's discussion of Liszt (Running with theDevil, 76).
AND SPECTATORSHIP
PULP,PORNOGRAPHY
93
not the controlling soloist supported by the ensemble, but an ineffectual voice which has no impact on or engagement with the rest of the
ensemble. The solo has all the appearance of control (it takes a solo
role against an instrumental backing, it functions musically as a display
of virtuosity, it features improvisatory material) and yet it lacks any real
direction or control. Here, loss of musical control within the norms of
a style and structure which have historically functioned to display masculine skill signifies a loss of mastery.
The codaand breakdownof thetrack
The threat of the breakdown of the track, first hinted at by the leadguitar instrumental and later by the backing vocals,28culminates in the
disintegration of the ensemble and song form during the instrumental
chorus and coda. The instrumental follows the same harmonic structure and uses much of the same material as the preceding vocal sections: verse is followed by chorus with the addition of a ten-bar coda.
However, during this instrumental version of the material the song
form loses its way. For example, bar 5 of the chorus changes to the
dominant for two bars in preparation for the resolution to the tonic
(see Example 4), but in the instrumental chorus the change of
harmony at bar 5 is delayed for a bar, after which a further delay takes
place: instead of two bars of the dominant followed by the tonic there
are six bars of dominant. When the tonic does finally arrive, its statement is staggered rather than synchronized: all the other instruments
have dropped out by the time the lead guitar resolves to the tonic, A.
Thus, there is a disintegration of both the ensemble and the song form
at this point. Significantly, the lead guitar, signifier of machismo, is last
to resolve to the tonic, and is the sole element in the mix at this point.
28 The backing vocals reference, on the one hand, those of progressive rock (compare the
backing vocals on 'The Fear' with those of Pink Floyd, 'Shine on you Crazy Diamond', Wishyou
wereHere (Columbia CK 33453, 1975) and, on the other hand, those of glam-rock (e.g. Queen).
Yet the backing vocals in 'The Fear' are ridiculously extreme: they ascend to unfeasibly high
registers only to collapse into incoherence and a lack of (vocal) control similar to that displayed
by the lead guitar. Breakdown of the vocal signifies breakdown of the meanings with which
progressive rock and glam-rock are associated: progressive rock's pretensions to profundity,
heroism and transcendence are ridiculed and, in the case of glam-rock, its camp aesthetic is
heightened into hysteria.
94
NICOLA DIBBEN
Example 4. End of the chorus from 'The Fear'. Online sound clip at
<www.jrma.oupjournals.org>.
voice
And here comes a-no-ther pa-nic at- tack,
choir
Here we go
a- gain
( ,4
lead
4r
rhythm
I IMi
bass -z & LI
piano
kit
to Intro
voice
choir
lead
rhythm
piano
V
,w.
-I
-AR
kit
,,
AND SPECTATORSHIP
PULP,PORNOGRAPHY
95
The words 'the end' which appear in the lyrics of the chorus of 'The
Fear' refer to the end of the track, the end of life and the end of 'The
Fear' - the subject matter of the song. This ending motif is particularly
significant viewed in the context of other rock tracks which draw the
same analogy. The ten-bar coda is characterized by the electro-mechanical sounds produced by guitar distortion and feedback and by the
sound of increasingly laboured breathing. One interpretation of this
sound in the context of the lyrics is as the sound of breathing supported
by a respirator or life-support machine. There is potential hope in the
lyrics' repetition of 'until the end', because the end (signifying both
death and the end of the track) implies an end to, and an escape from,
'The Fear'. However, even the bleak possibility of escape which this
offers is suddenly and brutally erased as the track ends with what
sounds like electro-mechanical failure of the monitoring equipment:
the 'end', when it does come, is electro-mechanical failure - there is
no grand or heroic end to life and no redeeming afterlife.
This (musical and metaphorical) end is in stark contrast to the
endings of two related tracks by The Doors: 'When the Music's Over'29
and 'The End'.30 All three tracks use the same lyrical motif, 'until the
end', and all involve a mirroring of musical structure and lyrics in
which the musical function of closure (the real end of the track) is a
metaphor for death.31Jim Morrison is paradigmatic of the self-aggrandizement of the rock icon, and both The Doors' tracks are prime
examples of a phallic model of rebellion, namely transgression and
penetration of the unknown in which the loneliness of the rebel is a
grandiose rejection of God and law. For example, whereas in 'The Fear'
the end fails to offer any escape from illusion, the final bars of The
Doors' track 'The End' is apocalyptic and triumphal.32 Death is something you meet head on - it is the only match for the heroic, grandiose
male:
The music is your special friend
Dance on fire as it intends
Musicis your only friend
Until the end
Until the end
Until
THE END.33
96
NICOLADIBBEN
This heroic death is realized in the music by the long pause before the
final 'end' of the lyrics, the large decelerando, the drum roll, the rising
melodic sequence and the delay of closure to the tonic. There is some
disintegration into distortion, but the track ends with a power chord on
all instruments and a clean, synchronized cut-off. The construction of
masculinity presented by these Doors tracks is one in which loneliness
is a consequence of being on the edge, an adventurer, a rebel, and in
which death is a grand and apocalyptic end. By contrast, in 'The Fear'
loneliness comes without heroism or adventure,34 and death is not
grand or apocalyptic but the consequence of electro-mechanical failure.
'The Fear' presents a bleak and ironic view of the single male: a representation of the disparity between the fantasies of self-aggrandizement which surround masculine sexuality and a stark reality of fear, of
self-deception and of futility. The track seems to suggest that cultural
conceptions of what it is to be a 'man' imply a purpose which in reality
it lacks, illustrated by lyrical references such as that to 'fast cars' but
with nowhere to go in the track 'I'm a Man'. The futility of the pretence
is also indicated in 'Help the Aged' ('If you look very hard behind the
lines upon their face you may see where you are headed and it's such
a lonely place'), and in the contrast between the stereotype of
machismo and Jarvis Cocker's experience of masculinity described in
'Dishes' ('I am notJesus though I have the same initials. I am the man
who stays home and does the dishes').35 The disparity between real
men and constructions of masculinity is epitomized by Pulp's track 'I'm
a Man', in which becoming a man is the result of buying the right goods
('So please can I askjust why we're alive? Cos all that you do seems such
a waste of time & if you hang around too long you'll be a man'). Jarvis
Cocker has elaborated on this view in interviews:
Success is a kind of 'manly' thing. It's like, you've got access to all the
materialtrappingsof a man, like you can get yourselfa Rolex watchif you
want and get a really fast car, and hang around with lots of women or
whatever,you know. If you look at all the things in advertisingand stuff
seem to represent a successful man they're all pretty childish in a way,
they'reall immatureand you knowhavingbeen a very 'unmanly'man I was
alwaysgetting stickfor thatwhen I wasgrowingup. It's kind of funnywhen
people are givingyou a bit of respect'cosyou'reloaded. Ijust thought 'well,
if that's all there is to being a man, then I'd rather not be one'. Now, of
course, I am one, let's face it, but I just don't subscribe to that kind of
34 Both 'The End' and the film ApocalypseNow reference 'the East' as a Western 'voyage of
discovery'.
35 Significantly, Jarvis Cocker's reference to himself as not beingJesus comes after his altercation with the Christ-like Michael Jackson at the 1996 Brit Awards. Cocker's stage invasion
disrupted Michael Jackson's performance of his hit 'Earth Song', in which he appeared in white
robes and arms outstretched in an imitation of Christ on the cross, 'healing' young children
dressed as poverty-stricken urchins, and approached by men dressed as monks to receive his
'divine' touch. Via a spokesman after the eventJarvis Cocker stated: 'My actions were a form of
protest at the way Michael Jackson sees himself as some kind of Christ-like figure with the power
of healing' (http://www.baritalia.ukgateway.net/bar-brits.html, 24 September 2000).
36 Cocker, 'Pulp from Disco to Hardcore'.
AND SPECTATORSHIP
PULP,PORNOGRAPHY
97
37 See, for example, Barry White, I've got So Much to Give (Twentieth Century 407, 1973), and
the Love Unlimited Orchestra, Rhapsodyin White(Twentieth Century 423, 1975).
38 Pulp, 'Seductive Barry', This is Hardcore.
98
NICOLA DIBBEN
These analyses reveal a concern with the disparity between the intensity of imagined experience (fanned by media representations) and the
disappointment of reality, realized through the themes of sex (the
intensity of sexual experience versus the seediness of pornography, as
in the case of the title track, 'This is Hardcore', and 'Seductive Barry'),
masculinity (single men as active and virile, versus a reality of domesticity and loneliness - as in the tracks 'The Fear', 'Dishes' and 'I'm a
Man'), youth (as in 'Help the Aged') and stardom (the glamour of
media representations versus the reality of publicity shoots and airbrushed photographs). For example, overlapping with their previous
albums, this disparity between fantasy and reality is expressed through
the theme of the hype but ultimate emptiness of youth culture:39both
the tracks 'Party Hard' and 'Glory Days' from the album This is Hardcorecontrast youth and its hype of drug and club culture with a much
less grand experience of the everyday ('I used to do the I Ching but
then I had to feed the meter. Now I can't see into the future but at least
I can use the heater') 40, and in which the euphoria of club culture is
portrayed as illusory and self-delusional.41 Within the context of the
album as a whole, pornography acts as a common visual language
through which the disparity between the intensity of imagined experience and the disappointment, or even disgust, of its realization is
39 See, for example, the track 'Sorted for e's and wizz', DifferentClass (Island 8041, 1995).
40 Pulp,
'Glory Days', This is Hardcore.
41 See, for example, Jarvis Cocker's account of the album's
title: 'I first came across the word
[hardcore] in the late 80s, when I was going to raves and things. I listened to pirate radio stations
and they'd alwaysbe saying "Hardcore:You know the score!" and all that kind of thing. There was
always a kind of endurance test aspect to raves, because they would start at about 10 o'clock and
just go through to morning or longer. So it was real hardcore if you were the one still dancing in
the end. But really, the way that people achieved that was by taking massive amounts of drugs, so
really there was a kind of sadness about it' (Jarvis Cocker, cited in Krugman, 'Deconstructing
Jarvis').
AND SPECTATORSHIP
PULP,PORNOGRAPHY
99
100
NICOLA
DIBBEN
an onlooker on his or her own life. All these references to the media
equate an imagined life of intensity and glamour with media representations.
The problem with which the album presents the listener is that these
fantasies, perpetuated by the media, are the social fiction against which
people measure their lives:
It's a modern affliction to feel this vague sense of dissatisfaction and of
missing out, of thinking somebody else is having a better time than you are.
Because you're always presented with great-looking people, you know, the
Martini Generation - people hanging out with great-looking women all the
time. The thing is, these things that you're aspiring to never existed. They
had a stylist in and suddenly you've got the light in your eye, and then
maybe somebody even paint-boxed it afterwards to get rid of any blemishes
or imperfections.47
According to Baudrillard, the current age of 'simulations' is one in
which culture no longer copies the real but produces it.48 Such is the
argument here: the album suggests that constructions of masculinity
and of masculine sexuality are produced by the cultural forms of television, cinema and photography and are the social 'truth' by which
people measure their lives. Because these are fantasies, unattainable
because they do not exist outside the media forms that produced them,
the subject will remain forever dissatisfied and turn ever more to the
cultural forms which authorize specular enjoyment of them. In his
analysis of capitalist society Guy Debord extends Marx's analysis of
economic production to cultural production and finds the same processes at work in the alienation caused by the means of production and
separation of worker from product as in the cultural forms of the
media.49 In this way the spectacle is ideological because the masses are
separated from the means of image production and the result of these
highly mediated cultural forms is 'stupefied passivity'.50
The ultimate critique of spectatorship in the album is provided by
the final track, 'The Day After the Revolution'. In contrast to Gil Scott
Heron's track 'The Revolution will Not be Televised',51 which the Pulp
track references, 'The Day After the Revolution' is a sardonic celebration of a culture of spectatorship in which life is experienced
through television and the other media rather than through direct
experience.52 The gloss and glamour of fame portrayed by the media
47 Jarvis Cocker, cited in Krugman, 'Deconstructing Jarvis'.
48 Baudrillard, SelectedWritings,ed. Poster.
AND SPECTATORSHIP
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101
is a construction through which consumers are lulled into a spectatorship which promises everything but which is portrayed as ultimately
debilitating.53 Hence, Jarvis Cocker remarks that 'There's a finite
amount of time on this earth. That's why I'm attempting to stop watching TV. I don't want to spend my life as a spectator.'54
As I go on to argue, however, this problematization of spectatorship
is not just the subject matter, but the subject position solicited by the
cover art and music.
SUBJECTMATTERAND SUBJECTPOSITION
102
NICOLA
DIBBEN
AND SPECTATORSHIP
PULP,PORNOGRAPHY
103
present in the Lied is compressed into that of a single 'star'.60Bloomfield's argument is that the Romantic view of the song means it is a
perfect commodity because it conceals its own reality under the appearance of promising intimacy with another person.61 Thus, contrary to
appearance, authenticity is not a solution to the problem of commodification but is part of the problem itself. 'At the core of the music
industry, then,' argues Bloomfield, 'is a manufacture of illusion: a masquerade of authenticity whose main elements are drawn from the
Romantic conception of art.'62
Like other cultural forms, then, music can set up structures of
looking/hearing which solicit a particular subject position onto its
subject matter.63 In a manner analogous to Mulvey's identification of
the contradictory processes of scopophilia and the specular image,
these musical processes may also afford identification with another
person (and hence an assumption of their vantage-point) and/or
assumption of an omnipotent vantage-point by virtue of the privileged
access into the artist's psyche which the song seems to afford. However,
just as the cover art of This is Hardcoreturns the viewer's privileged gaze
back onto itself, so too does the music, and in doing so it disrupts any
tendency on the part of the listener to identify with the protagonist of
the song. In each case the process seems to be one which destroys the
illusion of authorial authenticity, and hence the illusion of privileged
access to or vantage over another person. The lyrics do this in a number
of ways. For example, by stating that 'This is our "Music from a Bachelor's Den"' Pulp make explicit the potentially voyeuristic relationship
of the listener to their music, and to them, just as by placing the band
members in ambivalent positions within the photographs - as onlookers rather than participants - the viewer is made aware of his or her
own voyeuristic position. The lyrics also place the listener uncomfortably in relation to protagonists within the tracks: for example, in
'Seductive Barry' the listener is made party to a sexual encounter, but
this is a masturbatory encounter with a fantasized woman rather than
a romantic encounter. Lastly, the lyrics address the listener directly in
a manner analogous to the direct address to the camera found in some
film: for example, the lyrics of 'The Fear' state 'So now you know the
words to our song. Pretty soon you'll all be singing along.. .'. Similarly,
the fact that the album is referred to in the first track, 'The Fear', as
60 In fact, as Bloomfield points out, the notion that the Lied lays bare the 'soul' elides many
different voices necessary to its production and consumption: the Lied is a complex interweaving of poetic text, compositional score and performers, which complicates the notion that it gives
access to a single interiority. Even accepting this, the idea that this is a specifically 'Romantic'
reception theory is problematized by a number of recent writings: see, for example, Susan Youens,
'Behind the Scenes: Die schine Miillerinbefore Schubert', 19th CenturyMusic, 15 (1991-2), 3-22;
eadem,Schubert,Miiller, and Die schine Mullerin (Cambridge, 1997); and Lawrence Kramer, Franz
Schubert:Sexuality,Subjectivityand Song (Cambridge, 1998).
61 Allan Moore has argued that the honesty to
experience that music sometimes affords is
carefully constructed ('U2 and the Myth of Authenticity', PopularMusicology,(1998), 5-33).
62
Bloomfield, 'Resisting Songs', 27.
63 The idea that music can construct ways of hearing is similar to the notion of voice in accounts
of music and narrative (see, for example, Carolyn Abbate, Unsung Voices:Opera and Musical
Narrativein the NineteenthCentury,Princeton, NJ, 1991, and Kramer, Music as CulturalPractice).
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to end at all (the synth chord which 'ends' the track is sustained for ten
minutes, despite Cocker's banal 'Bye, bye' and the sound of 'canned'
audience applause). The structural instability of these tracks, particularly their endings, performs a number of functions: it draws attention
to their status as products and undermines their illusory status as
'works' of music, but perhaps more significantly it goes against the idea
of polished artistry, of the pop star's skill. The tracks on this album are
more ambitious (they use full orchestra) and carefully crafted and
make pretensions to high art (witness the direct references to other
music and the epic structure of the title track), yet this display of skill
is repeatedly undermined (even though the disintegration is, of course,
carefully crafted).
Jarvis Cocker's voice is central to this undermining of authorial authenticity. Traditionally the voice is an important indicator of emotional
veracity (perhaps deriving from the speaking voice), and the difference
between what is said and how it is said is a key trait of Pulp's wit. Jarvis
Cocker's voice is particularly important in this respect. One prominent
technique is the way in which he changes between different types of
voice in different tracks, and even within the same track, undermining
any impression of authenticity. Compare, for instance, the mock 'seriously cool' voice of 'Party Hard' and 'Glory Days' sung in a low register and towards the back of the throat, with added delay suggesting a
large performance space, with the slightly strained, higher-register
voice of 'Dishes' and 'Help the Aged'. This higher voice suggests youth,
naivety and a physical fragility (puniness, even) which is the nemesis of
Barry White's love-songs. Close-miking of his voice provides an impression of intimacy, but the voice is often uncomfortably close: this
may be music overheard by the listener ('This is our "Music from a
Bachelor's Den"'), but overhearing turns out to reveal some uncomfortable truths rather than giving untainted voyeuristic access into the
artist's psyche. The effect of these techniques is to undermine the myth
of authenticity on offer in the songs: the listener may seek privileged
access to the singer's psyche, where this provides a romanticized view
of the individual with whom he or she can identify, but instead Pulp
confront the listener with a much uglier reality.
I have argued that Pulp's album This is Hardcoreproblematizes media
constructions of fame, masculinity, youth and sexuality as self-aggrandizing fantasies. The album's problematization of pornography and of
voyeuristic relationships with pornography is both a manifestation of
its subject matter - for example, the disjunction between fantasies of
heterosexual masculinity and the reality which underlies them - and a
problematization of spectatorship - a subject position ultimately at
odds with constructions of macho masculinity as the protagonist in
sexual encounters, and with constructions of fame and stardom. In this
context pornography functions in the album as a cypher for the disparity between the intensity of imagined experience and the disappointment of reality - a disparity fuelled by the media and their
forms of cultural consumption. The subject position which the album
This is Hardcoresolicits is ambivalent: it both encourages the listener to
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take up a voyeuristic relationship to its subject matter and simultaneously disrupts this very relationship by making the listener aware
of his or her position as a spectator; the listener is encouraged to
collude in the self-delusion that the album ultimately reveals as futile
('you'll all be singing along'),66 but is simultaneously distanced and
made aware of his or her spectatorial position, in a manner analogous
to the viewer's spectatorial relationship with the cover art. Thus, the
problematization of masculinity, sex, youth and fame in the album is
part of a more general critique of spectatorship and voyeurism, and of
the forms of cultural consumption which encourage such (dis) engagement. Music (or, more specifically, the popular song), it appears, is just
as complicit in this.
University of Sheffield
ABSTRACT