Toward the end of 1990, you couldn’t get away from Simpsons merchandise- from posters, to pajama sets, to pencil toppers- mostly featuring Generation-X’s very first mainstream media icon, Bart Simpson. You see, before “The Simpsons” became obsessed with Homer’s gradual decline into retardation, the show’s initial protagonist was skateboarding prankster Bart- the country’s first take on their next generation.
And those savvy Simpsons writers seemed to have nailed it. While Bart’s driving characteristic was apathy, it was a kind of self-aware apathy. Bart wasn’t stupid, he was an “underachiever”- he was capable of more but consciously chose less. This hyper-aware apathy would become the generation’s defining trait.
Oh, poor Tim the ostler! The humble stable buck hopelessly in love with his boss’s gorgeous, red lipped daughter. Like that was ever gonna happen, and she’s in love with the bad boy Highwayman anyway, a dapper thief with a taste for the high-life; the ostler never had a chance. So, what does our scorned, low-born, beta-male do? The only thing he can- Tim calls the police, another group of men more masculine than he, to properly dispose of the Highwayman.
Thus is the premise of Alfred Noyes’s narrative poem “The Highwayman” (1906). You may have guessed that our poor, law-abiding ostler isn’t quite the hero of the story- that role is more closely filled by the titular scoundrel, with the lesson being that we don’t judge the morality of actions as much as we judge the value of those committing them.
And Tim, as a poor stable-hand, doesn’t have much in the way of value- he’s disposable and invisible. In modern terminology, which is ironically also Old English terminology, Tim is a cuck– and if you want any chance at sexual success, you can’t be a cuck.
“I found out long ago, it’s a long way down the holiday road”
Believe it or not, Clark W. Griswold was pretty fucking masculine. Sure, “Vacation” (1983) featured a kind of proto-idiot Dad, a trope that would become the standard by 1990- but Clark was a different kind of idiot Dad.
Clark was a masculine idiot Dad.
“Vacation” relied on one-joke with Clark, but luckily it was a good one. When Clark would do something stupid, royally screwing things up or putting his family in danger, he would say “I meant to do that” and move on.
This took many different forms. When Clark goes to trade in his car for a new station wagon before the trip- one he surely researched meticulously (my own Dad has a “Consumer Reports” subscription to this day)- he gets the old “bait and switch,” being forced into buying an ugly clunker after his own car is traded in destroyed. To dispute this by waiting for the car he ordered to come in would ruin his family’s vacation- so what does Clark do?
He sells his wife on the ugly clunker by using the same line that the scam-artist car salesman used on him: “Youmay think you hate it now, honey, but wait until you drive it.” Or, in other words, “I meant to do that.” He isn’t apologetic, he doesn’t admit defeat- he takes inventory of the situation and moves forward. This is the masculine approach- yes, even if you’re an idiot.
If the months between high school and college represent a budding sunrise of emerging freedom, the summer between graduate school and real life becomes your last chance at tasting it; time to get sick on Halloween candy because tomorrow is the start of winter. I spent these months on a friend’s couch playing “Mario Baseball” (2005)- I regret nothing.
Video games are meant to be played socially. The long extinct shopping mall arcades of the 1980s were social hotspots buzzing with life as teenagers would crowd around machines watching the cool kids do their thing amongst the flashing lights and buzzing sounds of games like Q*Bert and Centipede, telling their own kind big fish tales of forgotten high scores; “…if only they’d left the Frogger machine plugged in, then you’d see…”
Consoles were originally packaged with two controllers for this very reason- video games were meant to be played together. In fact, a two-player mode was so important to the programmer who ported “Pac-Man” (1982) to the Atari 2600 that he mistakenly sacrificed game quality and playability to accommodate the game’s social aspect, producing an atrocious home-version and ultimately killing the market until the rise of the Nintendo Entertainment System in 1985- a console which also came packed with two controllers.
“If you take a thing apart or modify it, there are certain aspects which must remain intact for it to retain its identity. Without certain parts, it becomes something else.”
So it’s a lazy Sunday night, I did my dishes, tidied up, and I’ve got some time to kill. Time to hunker down in front of my TV and let the clown and puppet show melt my brain when it occurs to me- it’s a pay-per-view Sunday, brother!
The pro-wrestling pay-per-view Sunday was a highlight of my childhood. Months of intricate story lines, peppered with plot twists, met with my own, personal, mental preparation for the big day which would ultimately culminate in…. nothing. My parents weren’t going pay for a play-fighting television show (“pay for TV!?”).
But those times when I carefully wore away their resolve with begging and pleading- usually with highly detailed explanations of all the moments that led to this happening, where on this particular Sunday night everything would be coming to a head, and nothing would ever be the same in the entire world (wrestling federation).
I needed to be in front of my aging 27″ to take it all in… and those times where they yielded to my lust for staged grappling were fucking beautiful.
“You give me a good whore house every time. A guy can go in an’ get drunk and get ever’thing outa his system all at once, an’ no messes”- George Milton, Of Mice and Men
Compared to male sexuality, female sexuality is surprisingly linear. While it’s true that men enjoy the typical signs of youthful fertility- large breasts, curvaceous hips, clear skin- a man’s attraction to a woman must be tempered by a sense of realistic accessibility. “The girl next door” archetype is sexy because she isn’t intimidating; she’s unaware of how sexy she truly is and this makes her accessible.
Female sexuality is more linear because women don’t feel indebted to accessibility as a component of attraction; for a woman, this would be like going to a movie and wondering, “do I deserve to be here watching this movie?” Since women don’t have this concern, a woman can feel entirely unencumbered with whom she’s most attracted to- which inevitably is the highest-quality male in any scenario.
However, defining highest quality male isn’t always what it seems.
In a flash Fake Winehouse was able to transform our hetero-normative experience back into something she was more comfortable with, her own safe space of gender neutrality, with the magic words: “get this shit off me.” Tossing her the tissue box, I chastised her for breaking the narrative, something usually reserved for slightly longer than fifteen seconds after sex.
Winehouse may have rolled her eyes, but the fact of the matter remains: sex is the narrative of attraction. For the red-hot 20 minutes I spent with Amy, she behaved like the ideal submissive- what she wanted in the moment. After, when her big girl brain came back, the feminist became disgusted with herself, and, “get this shit off me,” was her way of re-framing the mess she’d made by treating me like an alpha male.
Sex is like editing together a documentary film. Everything is based in reality, but it’s up to you to put together the story. Initial attraction may be there, but if you don’t string things together the right way, you’re not getting laid.
There was a gleam in her eye when “Ghostbusters” (2016) came up in the group’s discussion. She corrected the speaker, a male, who didn’t make an elaborate point to reference the movie’s notorious gender component- “the new Ghostbusters” he offhandedly called it, but this was “girl Ghostbusters,” she said with pride. After all, she was a high school Science teacher and this was a victory with which she could attach herself.
This attachment was the point, existing independently of the movie. She may not see it, nor should she have to- her attachment to “girl Ghostbusters” had served to bolster her identity. The actual film is an afterthought- a big budget leftist talking point. Beyond all the fuss, “Ghostbusters” is a pile of crap with regurgitated jokes, so who really cares?
Someone working deep inside the Clinton campaign must really fucking hate her guts. Old Hillary is gearing up for an appearance on the Ellen show alongside the entire cast of the smelly-like-farts “Ghostbusters” (2016) re-make. I am praying to Jesus that she comes out with the stupid uniform on, personalized with CLINTON across the left breast; she can have her own proton pack, maybe some impromptu CG will be employed. Please God, make her the honorary fifth Ghostbuster.
Don’t just finger me, God; I want it all the way in.
This stupid movie has the stink of death, and for Clinton to attach herself to it almost certainly means that someone working for her is either certifiably retarded or absolutely insane… but why is this movie so particularly hated?
After all, “Ghostbusters” is a movie and movies are bad.
While I haven’t seen Christine in years, every time we catch up the conversation ends with her saying something like, “well, as long as you’re happy…” She doesn’t understand why I’ve never left the suburbs, nor have I had any real desire to do so. Even more troubling to Christine, the idea that I may be happy with this.
For a conscious man wading through the muck of modern treachery, yes, I am fairly happy. Living in the city never appealed to me; there is nothing better than a quiet summer night. Everything I need is a car ride away, and since I was never really much of a drinker, I rarely had to face the quandary of getting home from a bar.
But, like always, there was more at stake than what Christine could understand. We may as well have been playing out roles on a reality TV show- not exactly scripted, but loosely scripted. It was hardly a genuine conversation. Even if neither party felt the overt grasp of invisible puppet strings guiding our interaction- our thoughts, our feelings, our desires, our identity- they are deeply present regardless of our being conscious of them.
Understanding the presence of these puppet strings is what separates the conscious man from the unconscious man. Understanding the depth of their control dictates the level of consciousness. And understanding the true power of these influences can make a man omniscient.