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| dr. jennifer melfi, dialogue, woody harrelson, denis leary, nona gaye, libya, omani, stacey, party, boobies, tony danza, larry david, camelot, gabe jeffrey, berber, chuck low, industrial, squishy, robert smith, lebanon, iraqi, | So in reaction to the loose colorful clothing of the 1960's and early 70's, you suddenly had this idea of tight clothing and dark clothing, leather jackets, black pants. trans I remember that you couldn't buy black jeans in Winnipeg in 1980 so we used to buy blue jeans and dye them black. And you couldn't buy skinny legged jeans trans so we would turn our jeans inside out - and I remember I had my mother's sewing machine which I learned to use very well - and we would sew new, tighter seams on the trans inside of the pants. And you would make the pants so tight that you literally couldn't squat in them, you couldn't cross your legs, and if you were lucky enough to have sex with a young punk girl you had to go through the ordeal of peeling them off slowly, turning them inside out and trying to pull them over your heels while she squealed with laughter at the sight of you. |
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| I couldn't even bear to look at them; they burned my eyes with their ugliness. And then in 1973 the movie American Graffiti came out. Now, American Graffiti was actually larry david set in 1962 but really, in terms of the popular perception it was seen as being about larry david the 1950's. At that point you had had about a decade since the Window of Ugliness for stuff from the 50's opened, and now it closes. And suddenly those cars were beautiful. larry david And I remember being surprised by that realization as a kid, "Oh, cars from the 50's are beautiful after all!" Anyway, I started thinking about this idea about the Window of Ugliness when I was a young punk rocker, when without even realizing what we were doing we were developing kind of a revival of 50's style, 50's classicism. A striking thing about punk was how much it was an echo of the 50's - although in its defense it wasn't just revivalism, because it was post-modern in the sense that it knowledgably and self-consciously incorporated those styles into new kinds of cultural productions that used them ironically, not uncritically. |
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