"Better to burn-out than fade away..."

I could have written a piece for the twentieth year since Kurt Cobain killed himself. I have no time for the debate over whether or not Cobain did kill himself. I think it's much more important that we remember Cobain's work and not his death. Especially, as the man's suicide note stated "It's better to burn-out than fade away" and there may be something in that. In regards to mortality we shouldn't despair so much, finite lives make their mark and in the case of great artists they have their own piece of eternity. For the twentieth anniversary of Nevermind's release I posted an article (see extract below) drawing upon Fred Pfeil's observations of Kurt Cobain's swipes against repressive masculinity.

The example of choice is the music video of In Bloom in which the band are introduced on an Ed Sullivan-esque TV show as "three fine young men from Seattle" complete with combed hair and matching sports coats. The video is shot in grainy black-and-white to give it the feel of the early 60s, the days before there was such a thing as MTV, Heavy Metal or Punk Rock never mind Grunge.  The effect is a Brechtian distance, the verfremdungseffekt, the point of which was to encourage the audience to take a critical view of the events on stage. So the trio bob about cheerfully as the crowd of pubescent girls get all hysterical as the quiet opening line stands incongruous to the scene "Sell kids for food, weather changes moods". The immediate subject of mockery is the "one" who "knows all our pretty songs", who likes to sing along and shoot his gun but "knows not what it means"; later adding "We can have some more, nature is a whore". The position to be ridiculed is that to comprehend these lyrics is to "shoot a gun", e.g. to possess a phallus.

My anarchist buddy Ted says I should've brought up the fact that the songs Polly and Rape Me were really about highlighting atrocious violence towards women. Originally, the two tracks were to be paired together, played back-to-back, in memory of a teenage girl, who was kidnapped, raped, and tortured. Fortunately, the girl escaped and the rapist Gerald Friend was arrested and is currently rotting in prison. Far from being works celebrating violence against women, as they have been confused for in the past, the songs are very much anti-rape and ultimately life-affirmative.

Gore Vidal and the Swingers.

As a Vidalophile I'm currently reading Myra Breckenridge (1968), a book Gore described as a masterpiece in bad-taste, which has been good fun so far and I foresee much more fun in this wonderful satire written at the apogee of the sexual revolution. The lead character, of whom the novel is named after, sets out to smash traditional masculinity, or in so many words:

I believe in justice, I want redress for all wrongs done, I want the good life - if such a thing exists - accessible to all. Yet, emotionally, I would be only too happy to become world dictator, if only to fulfil my mission: the destruction of the last vestigial traces of traditional manhood in the race in order to realign the sexes, thus reducing population while increasing human happiness and preparing humanity for its next stage.

One wonders how much of Vidal is in Myra. Of course, the author created the protagonist so it is natural for one to bleed into another and possibly vice versa. I bet a lot of the sex and drugs of the book comes out of the author's own lived-experience (he's said to have bedded more than 2,000). Gore had bought into Malthusian fantasies of overpopulation, so does Breckenridge. Gore was suspicious of Freudianism and traditional moralism in almost equal spades, so we find the same in Breckenridge. The work is littered with all of this. In a later passage Breckenridge weighs up the cultural mythology against the socio-economic reality when it comes to masculinity:

On the one hand, they must appear to accept without question our culture's myth that the male must be dominant, aggressive, woman-oriented. On the other hand, they are perfectly aware that few men are anything but slaves to an economic and social system that does not allow them to knock people down as proof of virility or in any way act out the traditional role. As a result, the young men compenstate by playing at being men, wearing cowboy clothes, boots, black leather, attempting through clothes (what an age for the fetishist!) to impersonate the kind of man our society claims to admire but swiftly puts down should he attempt to be anything more than an illusionist, playing a part.

As this is a chapter in which the protagonist attends an orgy, the man born Eugene Luther writes:

It is the wisdom of the male swinger to know what he is: a man who is socially and economically weak, as much put upon by women as by society. Accepting his situation, he is able to assert himself through a polymorphic sexual abandon in which the lines between the sexes dissolve, to the delight of all. I suspect that this may be the only workable pattern for the future...

He goes on to remark that the 'rigid old-fashioned masculinity' is bound to end in either "defeat or frustration". Who can blame him for this conclusion? It's somewhat obvious in retrospect. Perhaps it was much less obvious in 1968 when the old conventions seemed to be approaching a precipice in the minds of so many optimists. It made me laugh, but it also reminded me of those swinger ads from the Sixties posted by Sabotage Times about a month ago.

The Ugliness of the Beautiful Game.

The cult of football is alive as ever, especially in Britain where the English pride themselves as the inventors of the beautiful game. It is unclear, at least to me, what is so beautiful about the sight of over twenty millionaires chasing a bladder around a field. Chomsky would remind us of the role sports play in training us to be submissive to authority as well as the tides of irrational jingoism. This shouldn't be taken lightly as it was George Orwell who noted "The nationalist does not only not disapprove of atrocities committed by his own side, but he has a remarkable capacity for not even hearing about them." The rampant flag-waving and patriotic chanting emanates from the delusion that the England team embodies the spirit of the nation. Indeed many are left intoxicated by the ecstasy of these non-events. The power of the mass event should not be understated. It's forgotten that the concerts and music festivals we enjoy today come from the same model of the mass rally which Hitler used in the 1930s.

Peter Hitchens has compared it to Pagan cults, and for good reason, but we shouldn't take football as a Pagan exploit entirely as it is essentially prolefeed. And the aristocratic fans of Paganism are too often forgotten. It used to be that Christianity was for the poor while the ruling-class remained largely Pagan until the 19th Century in Britain. The aristocratic radical Nietzsche wanted to undo Christian values in order to return to the life-affirming polytheism of Ancient Greece. If anything football is not elitist even if it is particularist rather than universalist, it is open to all and for all. And it is the particularism of football - the preference for us over them - that holds a great link with Paganism. The loyalty to the team matters most, it can get you beaten up in some places. The worship of heroes, special clothing, the celebration of "seasons" and singing are all symptomatic; another particularist deed is racism. It isn't a coincidence that the neo-völkisch movements of Scandinavia are Pagan and call for white supremacy and a return to Odin worship in the same breathe.

The emergence of football hooliganism is not a coincidence, the fact that these hooligan elements are typically racists and right-wing extremists is also not a coincidence. The primary base of recruitment into the EDL were these thugs, the ex-BNP leadership itself comes out of hooliganism. This isn't to say that the sport of football is inherently fascistic. For 20 years Kick It Out has campaigned against racism in British football now, which is something that Eastern Europe and a lot of other places lack. But it is the case that there are a great many people who were whinging that the England manager Fabio Capello at the time was not English. There is plenty of talk about the high presence of foreign players in our teams. There is undeniably an element of nationalism that has been harnessed as part of the base of support for football teams. The shirt you were aligns you with a specific team in the same way that the flag links you with a nation, the glory of which reflects back on you.

The race relations of football have been on blunt display recently. Hodgson thought it appropriate to leave Rio Ferdinand out of the Euro 2012 Squad for "footballing reasons" and include John Terry. Even though it was John Terry who called Anton Ferdinand a "fucking black cunt" and will soon be in court for doing so. Kick It Out might condemn Hodgson's handling of Rio Ferdinand. There was the time when Ron Atkinson described a player as a "lazy thick nigger" with Jimmy Hill coming to his defense on the grounds that the comment is just harmless fun in the football culture. We don't like to remember the days when fans lobbed bananas at black footballers. Today in Poland the fans can be seen waving banners with such slogans as "Death to Hook Noses!" For many it matters that England is finally managed by an Englishman. No doubt some will think that the English team will finally be victorious after 46 years, even though we didn't actually win in 1966 - an unacceptable fact to be uttered in the pubs of our weary little island.

Roy Hodgson played for Berea Park FC as part of a white-only league in the years before Apartheid was brought down in South Africa. Of course, Hodgson has since "come out" as an admirer of Nelson Mendela in the years since the end of Apartheid. He states that he played in South Africa for footballing reasons rather than political reasons. This isn't inconsistent as the sport is an institution of continuity around which the masses can huddle while the establishment remains largely the same. It is a part of society's wallpaper, an investment for the business class and a source of national pride for the masses. The managerial function in society to regulate the passions of the masses. The need for an identity marker to derive a higher meaning had to be sated to dull the rages of class instinct. It is no coincidence that the counter-revolution has come to Egypt around the same time that there was an explosion of ultra-violence at a football match. Similarly as social democracy began to be torn apart in Britain in the 1970s and 80s there was a great wave of football violence.

As Terry Eagleton observes "If every rightwing thinktank came up with a scheme to distract the populace from political injustice and compensate them for lives of hard labour, the solution in each case would be the same: football." The game provides mediocre forms of solidarity for the masses who gather around particular teams. This can't be said for high culture, the prolefeed excludes no one in its particularity. The teamwork can be seen as selfless for the most part, though this is undermined by the celebration of the obscene wealth accumulated by the likes of David Beckham and Cristiano Ronaldo. The sport combines intimacy with Otherness in celebrity form, the hero we worship is just like us really and so we could be him one day. The game may have a place carved out for "experts" but it transforms its viewers into experts too. This is why my understanding of the subject is limited to the political and the theoretical. Eagleton goes on to add "Football offers its followers beauty, drama, conflict, liturgy, carnival and the odd spot of tragedy".

Umberto Eco on Eternal Fascism.

In the essay Eternal Fascism: Fourteen ways of looking at a Blackshirt, Umberto Eco outlines a list of features that are typical of what he calls Eternal Fascism, it is a force which remains in plainclothes today and won't necessarily come out sporting a Swastika for us to spot easily. It could easily take a far more innocent guise. The world is too complex for history to repeat itself and we have to uncover Eternal Fascism for all to see wherever it may hide. He stresses that the features cannot be organised into a single coherent system and there are contradictions between the different features. Eco also notes that the features are typical of other kinds of authoritarianism. Even one of these features is enough for a fascism to coagulate around it, so we find the reason that there are various differences between the Fascist movements which have come and gone. There are differences between the neo-fascist groups of today and the Fascist movements of the 1930s, the English Defence League is not the same as the British Union of Fascists though it shares certain features.

Umberto Eco rightly refers us to the words of FDR in 1938: "If American democracy ceases to move forward as a living force, seeking day and night by peaceful means to better the lot of our citizens, fascism will grow in strength in our land." It should be noted that the democratic system was never betrayed in the US, as the liberal critics of George Bush accuse him of the destruction of the Constitution. There is some truth to the claims of a debasement of old-fashioned liberal principles of freedom and rights. But the political system in the US was designed not to be democratic, nor to be autocratic, rather it was constituted as a polyarchy. This is what Alexander Hamilton called "moderate government" as the Golden Mean between dictatorship and democracy. To be more exact, the political parties can take turns running the state in the favour of the particular interests in which they are ensnared. It was James Madison who held that the government "ought to be so constituted as to protect the minority of the opulent against the majority." The stagnation of American politics combined with economic turmoil leaves the population angry, fearful and confused - this is ripe territory for Blackshirts!

First comes the cult of tradition. Traditionalism long precedes fascism, it was typical of counter-revolutionary Catholicism in the aftermath of the French Revolution and it first emerged in the Hellenistic era in reaction to classical Greek rationalism. In the Mediterranean basin, people of different religions (most of the faiths accepted by the Roman pantheon) started dreaming of a revelation received at the dawn of human history. The revelation had long been concealed in forgotten languages, from Egyptian hieroglyphics to the Celtic runes and beyond to Asia. We can only persist in the interpretation of the obscure messages. The primeval truth could be procured from these ancient messages, each with a sliver of wisdom, and help compose a new culture. It would be a syncretistic culture in the sense of a combination of different forms of belief and practice, which would require a tolerance of internal contradictions. This is where the combination of Paganism, Christianity and race myths come together in Fascist states. It's also the reason that Fascism seeks to posit itself as the Third Position between capitalism and socialism.

So there can be no advancement of knowledge as truth has already been spelled out once and for all. Umberto Eco takes the example of Saint Augustine, not a proto-fascist at all, but points out that it would be symptomatic of Eternal Fascism to combine Augustine with Stonehenge. From a Marxist perspective we may note the importance of traditionalism to Fascism as superstructural to the economic conditions which fostered the regimes of the 1930s. As Terry Eagleton argues, Fascism is a last-ditch attempt on the part of monopoly capitalism to abolish the contradictions which have become intolerable. The traditionalist feature may imply a rejection of modernism, but the Fascists did not regard technology as a negation of tradition. Rather the Fascists were focused on the construction of an alternative modernity beyond the class struggle with a narrative of blood and soil. The Third Reich was proud of its industrial achievements, though the praise for modernism was only the surface of an ideology based on blood and soil. The emphasis is really on the master race, the sublimity of death and self-abnegation.

Umberto Eco notes that the Fascist finds action as beautiful in itself, it must be taken before, or without, reflection because thinking is a form of emasculation. Action is placed above thought. To be more precise it is reaction rather than action. One of the principle differences between a socialist and a Fascist is that the former acts whereas the latter can only react. This is where the propensity for political violence comes from, it takes the reactive form and often seeks to justify itself along such lines. The violent reaction is always justifiable to defend and secure the fatherland. This is the logic which remains in the background of the kind of 'protests' that the former football hooligans of the English Defence League hold. Originally the EDL were the violent wing of the British National Party and it remains in line with the tradition of fascist groups since the British Union of Fascists took to the streets and raised havoc. It is out of this irrationalism that culture is suspect insofar as it is identified with academics, critical attitudes and intellectualism in general.

So the entire educational system underwent a Nazification in the Third Reich, with the employment of major academics such as Martin Heidegger to purge Jewish teachers and implement the desired curriculum. This suspicion of the intellectual world has always been a symptom of Eternal Fascism. Hermann Goering was fond of a phrase borrowed from Hanns Johst "When I hear the word 'culture' I reach for my gun" as well as expressions such as "degenerate intellectuals", "eggheads", "effete snobs" and the description of universities as "nests of reds." The official Fascist intellectuals were mainly engaged in an attack on the rampant decadence of modern culture and charge the liberal intelligentsia with the betrayal of traditional values. The point of Fascist propaganda was to tap into the irrational drives of the masses and utilise them against particular groups. The propaganda techniques to do so were picked up from the American public relations industry, which was based on the ideas of Sigmund Freud as applied by his nephew Eddie Bernays.

To make distinctions is a sign of modernism and to give into the current of depravity which began with the Enlightenment. The rejection of the modern world was dressed up as a kind of anti-capitalism, but it is the Enlightenment which is the source of decay in the modern world and Eternal Fascism rejects it on such ground. The Nazi slogan "Think with your blood!" comes to mind. The scientific community praises disagreement as a way to further pursue greater knowledge, but the disagreements we may have are treasonous for Fascists because it is a sign of diversity. We should remember the nationalist emphasis on unity and purity which opposes such liberal pluralism as a subversive or destructive influence on the nation. Thus the strange fixation on Pagan rituals, leader worship and Nordic blood myths. The rejection of the Enlightenment in Fascism is what distinguishes it from Stalinism. By contrast, Stalinism considers itself a part of the Enlightenment tradition comes in the form of the show trials held as part of the purges. The suggestion of shows trials for Jews in the Third Reich is unimaginable because there isn't even a semblance of a just society in Fascism.

Eternal Fascism seeks consensus by exploiting and exacerbating the fear of difference and of the Other. The subversive influence of an alien race or culture becomes the principle target of Fascism. The point is to stamp out the forces which have undermined the nation and unity in society. It is racist by definition. The Nazi schoolbooks founded an impoverished vocabulary as well as an elementary syntax in order to limit the instruments of critical thought and inquiry which could undermine the regime. Even boardgames and children's books were produced to further anti-Semitic attitudes among the population. George Orwell invented Newspeak in 1984 as the official language of English Socialism. The elements of Eternal Fascism are common to different forms of dictatorship. Newspeak can even take the apparently innocent form of a popular talk show today. With the shock jocks of the Right we find that the words 'socialism' and 'National Socialism' have been emptied out so that Obama can be called a socialist and a Nazi. The meaning of words are intentionally blurred and we see the same thing in Fascism.

The most typical feature of Fascism is the appeal to a frustrated middle-class, which had suffered through the crises of capitalism and intense feelings of political humiliation as in the Weimar Republic. The threat of working-class movements such as trade unions and leftist organisations is also a source of agitation in this instance. The possibility of revolution becomes genuine and the capitalist class begins to get desperate. Eco holds that once the proletarians are petty bourgeois and the lumpenproletariat are marginalised totally from politics then fascism will find its audience in a new majority. The audience have to be humiliated in socio-economic terms as well as political terms, it could be a war but not necessarily. The wealth and force of the enemy is defined in such terms. The Fascist is convinced of his ability to overwhelm the enemy through harsh measures, violence is never out of the question. A continuous shift in rhetorical focus maintains that the enemy is at once too strong and too weak. The inability to evaluate the force of the enemy clouds the capacity of Fascism to win wars.

To people who have been deprived of a social identity, Eternal Fascism offers a clear privilege that we were born in this great country. This is where nationalism comes into the picture, which we might be described as palingenetic (as Eco does not recognise) in that Fascist Italy was the reincarnated second Roman Empire and the Third Reich was the First and Second Reich realised as an alternate modernity. The idea of a rebirth is common, it feeds into a self-pitying and disordered view of the imperial past of the European powers. The nation can only define itself through the exclusion of the Other and the same can be said of the national identity. The Fascist mind is obsessed with an international plot which is taking place and must be stopped for the good of the nation. The people have to feel besieged and under attack in order to flock around identity-markers such as religion and nationality. The plot has to appeal to race hate, the most base instincts of hatred and it relies on the gullible cynicism of the individual to buy into a conspiracy theory in the first place. The plot must be insidious and almost invisible, which is why Jews are perfect given that they are inside and outside at the same time.

Permanent warfare is an inevitably given the nature of Fascism. Life is lived for struggle, pacifism is treason. The consequence of this is an Armageddon complex as enemies have to be defeated, so there must be a last battle or final stand to make and then the movement will have total control of the world. This implies an era of peace and unity afterwards, which stands in contradiction to this doctrine and no Fascist leader has ever succeeded in solving this problem. This doctrine of perpetual war fits in with the popular elitism of Fascism, as it is fundamentally aristocratic and militaristic to the extent of holding contempt for the weak. Each citizen belongs to the best people in the world, but the members of the Party are the best of the citizens and each citizen should join the Party. There can be no patricians without plebeians. The leader knows that the position he holds was stolen and not given to him through the democratic process (though there are exceptions, Hitler being the most infamous), it was the weakness of the masses which allowed him to seize power - this applies even to cases where the Fascists came to power via the ballot box.

The masses need a ruler in this conception, so the view of people differs greatly from the liberal view of human beings as having rights and freedoms - and by extension the political impact of the citizenry in quantitative terms. So the individual often falls in line with the community, as we see with so-called 'safe seats'. Of course, Eternal Fascism rejects the claim of individuals to such rights and the People are a monolithic entity which expresses the common will. No doubt the liberal protection of individuals and minorities from the whims of the majority feeds into fascistic conspiracy theories. No large quantity of human beings can have a common will, the Fascist leader becomes their interpreter. As marginalised from the political process, individuals no longer act as citizens but take on the role of the People as a theatrical fiction. Umberto Eco foresees that the future internet version of this populism may take the emotional response of a selected group of individuals as the accepted Voice of the People. The masses are manipulated under Fascism, not disdained as they are in conservative thought.

Out of a qualitative populism, Fascism takes a stand against the "rotten" Parliamentary model and the governments which have been formed as a result of them. There are hints of Eternal Fascism in the doubts raised by politicians of the Parliament's legitimacy, that the government does not represent the Voice of the People as Umberto Eco puts it. Richard Seymour notes that for the Fascist the political system is vulnerable to viruses. So the problem is not capitalism as such but super-capitalism, as Mussolini noted, which should be contrasted with the heroic capitalism of the 19th Century. Of course, heroic capitalism became super-capitalism eventually as it grew decadent. The explanation for the inherent contradictions and destructive capacities of capitalism can be displaced onto a cabal of some kind. It could be the Jews, the Freemasons, the Communists or even a bit of all three as in most cases. This is a very similar logic to the claim that there is a liberal elite which has poisoned American society.

Everyone is taught to be a hero in a strict sense, as the exceptional being which becomes the norm in Fascist ideology. The cult of heroism is joined at the hip with the cult of death. It is not by chance that a motto of the Spanish Falangists was "Viva la Muerte!" which means "Long Live Death!" This motto may have been borrowed from the Iron Guard in Romania led by Corneliu Codreanu who considered Hitler "soft" when it came to the Jews. The view of death maintained by the Fascist is in contrast to the standard views of death, that it is to be faced with dignity and it leads to a better place etc. The Fascist hero craves a heroic death, to the point of impatience, because it is the best reward for having led a heroic life. In this impatience then the Fascist will send other people to die in droves. As a consequence of the impracticality and difficulty of ceaseless war and a heroism based on death the Fascist transfers his will to power to sexual matters.

The cult of the masculine leader and the heroic death retreats to the bedroom. This is the origin of chauvinist machismo complete with misogyny, as well as intolerance of sexual habits which do not fit into a certain set of standards (from chastity to homosexuality). Mussolini famously said "War is to man what maternity is to woman." Ultimately, even sex is a difficult game to play - the Fuhrer was a masochist in the bedroom who left behind a string of relationships which ended in suicide - and so the Fascist tends to games with weapons as Eco notes "doing so becomes an ersatz phallic exercise." Plato maintains that the tyrant lives the life of dreams, where there is no conceivable 'crime' that we can commit and we can follow our desires to their end without consequence. The tyrant becomes what he was in his dreams, eating forbidden fruit and killing at a whim. Nothing is off the table, from incest to mass-murder. Dreams become reality for the tyrant. Perhaps these words were prescient of the indulgences of Fascist dictators.

Man of Gonzo.

The words of Dr Johnson which mark the beginning of Fear and Loathing in Las Vegas are highly appropriate "He who makes a beast of himself gets rid of the pain of being a man." The image of the swaggering obscene paternal figure comes to mind, Raoul Duke stands as an obvious figure which Thompson equated himself with in a way which he never really did with Paul Kemp. It is worth keeping in mind, when he wrote The Rum Diary Thompson had yet to dabble in psychedelics but he was a seasoned drinker and went on to garner a reputation as an "impervious man" when it came to drugs and alcohol. When he had dinner with George McGovern, who was running for the Presidency in 1972, Thompson ordered three Margaritas and six beers in one sitting. This is the man who became a beast in order to continuously purge himself of an unending source of pain. Are we talking about the burden of masculinist norms here? Perhaps we are talking about masculinity itself? The beginning of The Rum Diary is marked with an eye-opening sentiment from Eileen O'Connell from 1773:

My rider of the bright eyes,
What happened you yesterday?
I thought you in my heart,
When I bought you your fine clothes,
A man the world could not slay.

There is something defiant about the figure conjured up in O'Connell's words, the world could not slay this man. This is not the normal paternal presence, whose symbolic authority is derived from a phallic insignia. Keep in mind that the phallus facilitates the articulation of desire, simultaneously a symbol of sexual difference - the lack of the signifier in the Other - and the object of desire. Desire in the Lacanian sense of the longing which persists even after needs have been satisfied. It is not a case of the wish to simply possess an object, it is a lack of being which signals the split at the heart of the subject. The phallus is symbolic, so it cannot be possessed as an attribute of sorts. In a way desire is an appeal to receive from the Other the complement to what it lacks, so desire is a longing for the desire of an other and so on. It is tempting to designate the figure as not merely wearing the phallus, rather the man is the phallus. But if we accept that to be slain is to be possessed then we can't hardly hold onto this position. Really then it is about the dissatisfaction of desire which is consequent of the unattainable and fleeting quality of the object of desire - objet petit a.

We could continue along this psychoanalytic line for answers to the "bestial" indulgences of man that Thompson advocated as a kind of release from a great pain which seems to be connected with existence itself - perhaps in Schopenhauerian vein. Freud might have designated the bestial drives of man as the Id (to put it in rather crude terms). Think of Harpo Marx as the Id, which is just as ambiguous and silent as him. The strange antics of Harpo were childlike - in the pursuit of mindless fun - but gripped by a primordial evil at the same time. Here we should turn to Nietzsche who reserved great praise for the grand passions, which have often been treated as bestial and animalistic drives in the past. Passion brings meaning to life, it can bring insight, understanding and orientation. This is because of the attachments that are born out of a passionate life: the friendships and relationships we forge, as well as the ideals we hold dear and the creative powers we can exercise through art. The acceptance and love of life is the highest passion, as well as the highest virtue, for Nietzsche. To unleash the passions might be to "make a beast" of oneself.

The passions which gripped Thompson in life ranged from Freak Power and Fitzgerald to motorcycles and mescaline, there were plenty of attachments made to art, music, friends and lovers. He experimented greatly in his life, the indulgence in drugs and alcohol was not just a form of hedonism it was part of the persona he worked to create. The same goes for the passionate lives led by the protagonists of Thompson's books, though the lives they led have been crystallised in fiction for us to enjoy. Most tragically Hunter S Thompson ultimately chose to end his life partly in reaction to the political climate of America. It was a most un-Nietzschean end, Thompson had become a hostage to the persona he had built over the years. It would be easy to paint him as a simple hedonist, but look at the Wave Speech and it is not simply a celebration of hedonism (though there is an element of that involved). Rather it is a joyous eulogy to the 60s zeitgeist, the immense explosion of energy which would prevail over the old politics. Take his words in The Proud Highway "Hopes rise and dreams flicker and die. Love plans for tomorrow and loneliness thinks of yesterday. Life is beautiful and living is pain. The sound of music floats down a dark street."

Male Mythology in Gonzo.

The Americans based in Puerto Rico as journalists, businessmen and soldiers are depicted as a horde of corrupt, perverted and sex-crazed sociopaths. There is Moberg who is obsessed with cannibalism (a twisted form of the unfulfilled longing) and Zimburger who is described as "more beast than human". Then there is the reckless Yeamon and the inexplicably unfuckable Sala, between them we might situate Kemp as a kind of "moderate witness" who is never as passive as Sala nor as rebellious as Yeamon. Paul Kemp participates and observes the mayhem, but manages to pull-back from the edge and gets to walk off towards the sunset as it were. This is a standard lesson of literature, the passive will destroy themselves and the rebel will be destroyed by the system. It is being able to participate and pull back from the edge just in time that makes for a great story. Especially when we're talking about Gonzo journalism, the journalist is a participant in his story in the full subjective sense. With all of this mind we should look at when Paul Kemp finds himself on a beach after a night of festivities with a woman called Lorraine:

We talked for a while, drying off as best we could, and suddenly she reached over and pulled me down on top of her. “Make love to me,” she said urgently.

I laughed and leaned down to bite her on the breast. She began to groan and jerk me around by the hair, and after a few minutes of this I lifted her onto the clothes so we wouldn’t get full of sand. The smell of her body excited me tremendously and I got a savage grip on her buttocks, pounding her up and down. Suddenly she began to howl: at first I thought I was hurting her, then I realised she was having some sort of extreme orgasm. She had several of them, howling each time, before I felt the slow bursting of my own.

We lay there for several hours, going at it again when we felt rested. All in all I don’t think we said fifty words. She seemed to want nothing but the clutch and howl of the orgasm, the rolling grip of two bodies in the sand.

Paul Kemp promised to call Lorraine - the lie we all know so well - and never does, as far as we know, whereas Kemp later returns to the US where Chenault waits for him. She had left Yeamon for Paul soon after she reappeared after the incident at the carnival, in which she was almost certainly gang-raped at a party - a trauma never fully explored or resolved in the book, it just happened. After turning up at Kemp's place Chenault asks Paul Kemp to get in the shower with her and then comes a flash of impure Gonzo "I heard a gong somewhere in the back of my brain, and then a melodramatic voice saying, 'And this concludes The Adventures of Paul Kemp, the Drunken Journalist. He read the signs and saw it coming, but he was too much of a lecher to step out of the way.' Then there was organ music, a sort of feverish dirge, and then I was stepping out of my shorts and into the shower with Chenault." It is clear that our hero did not go celibate between the chapters, but the sex scene with Chenault is significant in its difference to the earlier tryst on the beach.

I felt totally defeated. For a while I paced around the apartment, barely hearing her happy chatter, then I gave up entirely and went over to the bed and took off my clothes. I fell on her with such a violence that her smile quickly disappeared and it became a desperate business.

She kicked her feet in the air and shrieked and arched her back and she was still trying when I exploded inside her and collapsed with exhaustion. Finally she gave up and locked her legs around my hips and her arms around my neck, and started to cry.

I leaned on my elbows and looked down at her 'What's wrong?' I asked.

She kept her eyes closed and shook her head. 'I can't,' she sobbed. 'I get so close, but I can't.'

We might reach for the term 'courtly love' to denote the way in which Chenault was pursued by Paul Kemp simply because she was forbidden to him as Yeamon's girlfriend. It began on the plane over to Puerto Rico where he was desperate to see to it that she could sit next to him and ended up getting into a fight with an elderly man over his seat. Keep in mind that the perpetuation of the 'courtly love' structure hints at the ongoing attempts of man to compensate for his reduction of women to mere vehicles for his fantasy.In turn woman comes to inhabit this fantasy as her 'femininity' and she is deprived of her particularity as a woman. As the pursuit moved beyond 'loving' her (for lack of a better phrase) for something in her more than herself - as an object - to seeing her as a subject of lack. If we continue along this Žižekian line we find that this leads us to the conclusion that sexual difference retains the Real which cannot be symbolised and lovers are fated to settle for a relationship that is a "non-relationship".

Then again we might be tempted here to accept the conclusion that the point of the tryst on the beach with the "dark skinned" Lorraine was to stand as the exotic Other with a certain authenticity in contrast to the anemic and inhibited whiteness of Chenault. A racism turned on its' head where Lorraine was an exotic and wild lay on a beach by comparison with Chenault. So the only point of Lorraine was to point us towards Chenault's deficiency, once she has served her purpose on the beach she can disappear. It is only after Kemp beds Chenault that the narrative can reach a conclusion - the return to home - so we might designate Puerto Rico as a vanishing mediator on it's own. But then what might we read into Chenault's disappearance as she heads onwards to New York? A rendezvous in the Big Apple remains a genuine possibility for Paul with Chenault. It is never fully resolved what happened at the carnival, through Paul's eyes it is as if Chenault was "asking for it" in the standard misogynist contours of rape as in some way the fault of the woman.

As Žižek has pointed out there is a sense in which the excessive desire of female fantasy and male fantasy fails in a bid to overcome such an excess. It poses a threat to male identity and the woman has to be erased as it were. One way to escape from the excessive Real encountered in fantasy is to 'make love', not to reenact the fantasy but to escape from it. Perhaps this is the reason that Chenault has to 'disappear' from the narrative in order for it to be able to reach any conclusion. What might that say about her appearance in the narrative as a whole? Effectively she was only present as her desire for phallic enjoyment. In the note she leaves for him to find Chenault writes "I can't stand it anymore. My plane leaves at six. You love me. We are soul-mates. We will drink rum and dance naked. Come see me in New York. I will have a few surprises for you." This is the only space which opens up for Chenault's subjectivity, yet she can only express what we already know and expect of her. There is no active part to play and in actuality woman "therefore does not exist" in the Lacanian formula.

Nevermind 20 years of Nirvana.

"I wouldn't wear a tie-dye-T-shirt unless it was dyed with the urine of Phil Collins and the blood of Jerry Garcia." - Kurt Cobain

It is 20 years since the release of Nirvana's second album Nevermind which soon shot Michael Jackson down from the Number One spot and launched the band from relative obscurity into the mainstream. The band had clearly moved forward from the screeching anger and darkness, the almost metallic sound, of Bleach in 1989. Before the album came out Kurt Cobain filled in NME about his ideas for Nevermind. When asked to explain the title Kurt said "Most people would just as soon forget or say 'never mind' than to take a can of spray paint, or start a band. People just don't do things very often anymore. I'm kind of disturbed by it." This is a desperate complaint typical of Generation X, for whom all great ideas had been diminished in some way as the "End of History" was heralded and pop culture was reduced to just another market. The angst hangs in his words as he goes on to add "It'd be just as easy to spray paint 'Kill George Bush' over and over again. Whether that would have any impact on anything or not, it doesn't matter, it's still fun."

Bare this in mind when you hear the lines in Smells like Teen Spirit "Load up on guns, bring your friends" and "It's fun to lose and to pretend". Cobain later claimed it was a mockery of the thought of "having a revolution" (note not 'starting' a revolution) though it is a "nice thought" the song remains sarcastic. The song itself consists of contradictory sentiments which range from the restless calls "Hello, Hello, Hello..." to the passive demands for "entertainment". We might designate the song as rudderless, for it is without clear direction, but then we will have missed the point. Teen Spirit was an attempt to encapsulate the feeling of angst when confronted with the Absurd - the indifference of the universe - which entails contradictions and in turn can provoke a certain reaction. It is a work of subversion. In the interview with NME Cobain describes the song as "posing as the enemy to infiltrate the mechanics of the system, to slowly start its rot from the inside. It's an inside job, it starts with the custodians and the cheerleaders."

Before Kurt Cobain decided to give up the ghost, and suck on the end of a shotgun, Fred Pfeil noted the potential in the rock masculinity posited by Nirvana. In his preoccupation with white straight masculinity Pfeil contrasted it with the versions of rock masculinity that had come before in the music of Bruce Springsteen and Guns N' Roses. For Pfeil there is a complex message of racial and sexual differentiation in both Bruce's and Axl's version of masculinity. Fred Pfeil argues Springsteen's moral authenticity is in part the nostalgia which contains it; the viciousness and instability of Axil are in bed together. The attitudes of Kurt Cobain might be described as individualist in the profoundly anarchic, anti-masculinist and anti-homophobic vein. It is not that Nirvana presented an alternative masculinity, at least coherently, though it did thoroughly reject and mock what had come before it. So the band goes to the gender breakdown from sexualisation. Rather than a simply refusal to be sexually fetishised (e.g. to cover up and avoid nudity) Nirvana looks to subvert the conventional equation between white male band and white male fan.

The example of choice is the music video of In Bloom in which the band are introduced on an Ed Sullivan-esque TV show as "three fine young men from Seattle" complete with combed hair and matching sports coats. The video is shot in grainy black-and-white to give it the feel of the early 60s, the days before there was such a thing as MTV, Heavy Metal or Punk Rock never mind Grunge.  The effect is a Brechtian distance, the verfremdungseffekt, the point of which was to encourage the audience to take a critical view of the events on stage. So the trio bob about cheerfully as the crowd of pubescent girls get all hysterical as the quiet opening line stands incongruous to the scene "Sell kids for food, weather changes moods". The immediate subject of mockery is the "one" who "knows all our pretty songs", who likes to sing along and shoot his gun but "knows not what it means"; later adding "We can have some more, nature is a whore". The position to be ridiculed is that to comprehend these lyrics is to "shoot a gun", e.g. to possess a phallus.

Suddenly the video jumps to footage of the same band on the same show in quite a different get-up. The long ragged hair is back, the sports coats swapped for dresses. The leap away from the neat and clean-cut Americana which preceded such a wild lurching genderfuck of a performance. A mock duel follows only for Cobain to straddle Novoselic, soon the guitar is discarded by the lead singer as the stage is trashed and he makes it back to the microphone with his hands pressed into his groin as if from some great pain - a kick in the nuts or is it that time of the month? The audience remains enthralled, the screeching of the girls is incessant, as if they're watching a totally different show. As the show comes to a stop the host re-emerges to inform us that these fellows are going to be "really big stars." The break is made with the traditional rock masculinity with its populist appeal to the white working-class market, the hidden haunts of Eric Clapton's racism. Cobain refused to "be a man" in this sense, while Nirvana turned this into a collective refusal. Perhaps if Cobain had lived longer we would have more than just this blue-print that hints at a new masculinity.

The "Scourge" of Single-Mums.

I am one of the generation deemed scum by so many newspapers and reactionary fuck-pigs. It is a generation raised by women without the hand of a man to slap them around and all the while these women - designated simply as 'single mums' - are faced with a torrent of misogyny and bad faith from a narrative of the gutters. Incidentally the attitude of many single-mothers is not one of entitlement, but of guilt, shame and self-loathing. The narrative of the right-wing media has been that the person on benefits is a parasite on the successful and hard-working, that the families which survive on the crumbs of the state are the froth of the scum which has been amassed at the very bottom of society. These people choose not to work in order to get a free ride on the backs of 'real' workers. Notice there is no mention of the severe lack of jobs in our society, the lack of opportunities, the pervasive inequality and the absence of any policy to create jobs.

One major cultural change which has been accomplished by the Feminist movement of the 1970s is the sense that women have a lot to be angry about and should be angry. We live in a time of the 'token woman' and the widespread dissemination of feminist ideas, at least at the level of a kind of Barbie Doll feminism, whilst the conditions of women's lives worsen and everywhere there seems to be a backlash against the steps forward made in the past. The women who have to raise children on benefits are often treated with scorn and even from working-class people, who are jeered on by middle-class journalists and newspaper editors. The explicit attitude of the gutter press to women is anti-feminist, it is almost as if woman is the guilt of man realised and only if he can cleanse himself of his "dirty desires" can woman cease to exist. We have only to glance at these papers to catch the orgy of misogyny in full motion, where a life on benefits is a 'choice' undertaken by the exploding numbers of women who don't think being a housewife is "rewarding".

The fact that the media is a business for which the aim is to maximise profit by driving down costs and stimulating advertising revenue. Let alone that the media is dominated by middle-class white men and has been for decades. The superfluous population are a cost to be minimised. So the press run endless stories about women living in houses worth millions on housing benefit and child-benefit, as if these crumbs are equal to a house in London that they don't even own. Incidentally housing prices have been inflated in London as council housing has been decimated and the economy has been finance-driven. The average age of the single-mum is 37 and 55% of single-mums had their children within marriage. 33% suffer from disabilities and illnesses while 34% of their children are disabled. No wonder there are working-class people cheering on the government as job centres are set a minimum target of chucking three people a week off of benefits. The disabled are a prime target because they won't kick up a fuss. But neither would most single-mums, the attitude pervasive amongst the superfluous population is apathetic parody of the stiff-upper lip.

As David Cameron rants about "runaway dads" he supports policies which make it more costly for women to pursue them for financial support. The blame is still fundamentally pinned on the woman for opening her legs and seducing the man who just can't help himself. Naturally Melanie Phillips responded by fanning the flames of misogyny and tells us that it is not the father who is the problem it is the single-mum who is just trying get by. Even though it will be single-mums who will be hit the hardest by benefit cuts, losing a month's income every year and three times as much as a childless couple. At the same time, single women will lose a little less than a single-parent on benefits due to the tax and welfare changes. Even though around a quarter of children live in single-parent households, and a high number of them do so below the poverty-line. The statistics will tell you that these children will go onto do badly in school, suffer poor health and may even fall into long-term unemployment themselves.

There is an irony in the obscene lies of the Right against single-mothers on benefits. The term "proletariat" is derived from the Latin for "offspring" which refers to those who were too poor to serve the state with anything other than their wombs. Too deprived to contribute to economic life in any other way, these women produced labour power in the form of children. What society demanded from them was not production but reproduction. The proletariat started life among those outside the labour process and not from within it. Though the labour these women endured was a lot more painful than breaking boulders. We live in a world in which the typical proletarian is a woman, as we can see in sweatshops and agricultural labour. After the decline of heavy industry it was women who staffed the huge expansion in shop and clerical work. Even when Britain was the workshop of the world the industrial working-class were outnumbered by domestic servants and agricultural labourers. In other words the majority of the workforce was female in the 19th Century.

The picture we all carry in our heads of the working-class is of the blue-collar brawny male off to toil away in a factory with lunchbox in hand. But the working-class is not defined by manual labour. The working-class includes anyone who is forced to rent their labour power to capital, languishes under its oppressive disciplines and have little control over the means of production. Thus Karl Marx ranked commercial workers along with industrial workers and refused to identify the proletariat with just "productive" workers, in the sense of those workers who churn out commodities in exchange for a wage. The unemployed are not part of a so-called "under-class" but are actually central to the working-class. The way unemployed women in particular are regularly singled out by the reactionary media along the usual misogynistic lines is the essence of class warfare. This is how the important role of child benefit has been jettisoned over the years, it is not even seen as an investment anymore by the elites and the commentariat.

WAD.

 

Western affluence disease, also known by the acronym WAD, is contagious and has not been contained to the West where it originates in the 18th Century. The symptoms are as follows:

1. Politicised cynicism - an inclination to believe that all governments are corrupt because the party-system is motivated by self-interest, no politician can ever solve our problems and we need to resolve our problems outside of the state. We might as well not vote, nothing will ever change and we should just accept that.

2. Obligatory jouissance - the injunction to enjoy, you can therefore you must, to indulge. This is not the realisation of freedom as it lacks the freedom from enjoyment. Instead it leaves you trapped on a hedonic "hamster wheel" constantly chasing gratification.

3. Commodity fetishism - to derive meaning, value, status or identity from possessions and money. Products seem to take on a life of their own, there value determined by "mysterious forces" and not by the market, leaving people working to attain them.

4. Permitted rebellion - hedonistic escapism, e.g. raving, which does not defy the confines of our so-called "permissive society" but remains embedded firmly in the dominant ideology. A rebellion which is permitted, controlled and provided at a price.

5. Sport-enhanced jingoism - aggressive nationalist tendencies evoked by sport events, which act as a substitute for warfare, in a controlled area and is usually characterised by an overtly homoerotic drinking session in which there is a distinct absences of gays.

6. Liberal communism - the tendency to seek a progressive outcome from a system which undermines such an outcome, in accordance with a logic of private vices reap public rewards. For instance, you cannot end world poverty within capitalism as the economic system is partly driven by poverty.

If you suffer from any of the symptoms above notify a dialectician (preferably one with a beard) as soon as possible.

The Strong Silent Type.

"Pain and truth? I'm a fat fuckin' crook from New Jersey." - Tony Soprano

Tony Soprano often refers to Gary Cooper as the consummate American male, strong and silent, focused and not emasculated by confession. Tony says in one therapy session that Cooper "wasn't in touch with his feelings, he just did what he had to do". Cooper was a staunch anti-communist and was famed for playing cowboys, an imitation of the mass-murderers who led a campaign of ethnic cleansing against the Native American population. He equates the identity of the American male with unaccountability. The genocide of the Native American tribes was not confronted in American society until the 60s and 70s. It is made clear throughout the show that the characters prefer to focus on the subjective violence - violent acts committed against them - and do not confront the objective violence - the violent acts which they are responsible for, as a way of sustaining their life styles. After watching all the episodes of The Sopranos it is clear that murder is just the tip of the iceberg, when it comes to the human suffering that these mobsters are responsible for.

In a flashback to the early 1970s, Tony watches as his Uncle Junior and father Johnny Boy take Francis Satriale into the back of his pork store, there his father chops Satriale's pinkie off with a meat cleaver. This act of extreme violence is aesthetically symbolic of castration - with all of it's Freudian connotations. Later on in the episode, Tony has a conversation with his father, explaining his reasons for cutting off Satriale's finger, the music playing in the background is reminiscent of the Westerners of the late 1960s. The prepubescent Tony later suffers his first ever panic attack, as his father cuts up the pork before his eyes, just after seeing his father dancing with his mother. He once confides in a therapy session that he was told that he was as a child, that his father was in Montana living as a cowboy, when in fact Johnny Boy was in prison. Tony experiences great existential despair and anxiety as he has such enormous "shoes to fill". At the same time, he experienced impotence as his father handled the meat cleaver so swiftly.

In the first episode of the second season, we see Tony driving along in his SUV and listening to heavy metal music. Along the way he passes dilapidated warehouses and rundown buildings, obliviously, as if Tony does not want to acknowledge the destruction his "journey" has brought upon the community. But when his car's radio begins to malfunction during this journey Tony becomes enraged and begins hitting the dashboard, he eventually suffers an anxiety attack and passes out, crashing his car. Tony was overwhelmed by feelings of intense rage triggered by a minor disruption in his journey. As if it were a desperate attempt to avoid facing the destructive consequences of his actions - his true responsibilities. These responsibilities Tony has avoided since childhood, as his father had done before him, which was expected of him as he chose to follow in his father's footsteps.

It is often said that The Sopranos brings us to fall in love with character whom we would find totally abhorrent if we encountered them in reality. Tony Soprano is one character in a long line of fat working-class lovable oaths, like Homer Simpson and Peter Griffin, that American popular culture has produced over the years. It is his many flaws that make him so human and what helps the audience sympathise with him. This is why we constantly put up with his despicable behaviour, as does Dr Melfi and most of his loved ones. It could be down to the Judeo-Christian values which remain dominant in Western society generally - which set a low standard for human nature - and as a consequence of them we generally do identify with flawed characters.

Perhaps, such characters appeal to the parental instincts of the audience. Fat, helpless, unable to resist gratification, these are much like the features of babies, which are innocent and in need of guidance. It could be our desire to protect and guide the weak of this world that is behind our shared compassion for such oath-like characters. There are allusions to this during the course of the show. Gloria Trillo referred to a guerrilla in the zoo as looking "innocent" like a baby, since the term "guerrilla" has been used as a euphemism for Mafia thugs in the past, this may be an insight into her, as well as our own, fascination with Tony and other men like him. In the episode Amour Fou, Carmela is at an art gallery with Meadow where they view The Marriage of Saint Catherine of Alexandria, which depicts Saint Catherine kneeling down and kissing the hand of the Baby Jesus who is being held by the Virgin Mary. Meadow comments "She's marrying a baby. Good luck." to which Carmela replies "We all do." But does not just imply Tony is a "big baby", it puts him in the place of Christ - a martyr.

In his sessions with Dr Melfi it is revealed that as a sociopath Tony mimics empathy by showing affection for animals and babies. Melfi later concluded that Soprano, due to his sociopathic personality, was an untreatable case after reading The Criminal Personality, a particularly damning case study. Though, Tony had previously summed it up, we just didn't want to listen, "Pain and truth? I'm a fat fuckin' crook from New Jersey." This effectively ended the fantasy of Tony redeeming himself and becoming a reformed character, it effectively ended the hopes of the audience. But on an even deeper level it is as if this realisation, is a recognition of the "con" played against the audience. The therapy sessions provide what the show lacks, narrative, Dr Melfi is the presence of the audience in the show. She is fascinated with Tony Soprano, a gangster, like the audience and like the audience she is ultimately "conned", charmed by a sociopath and the tricks he's mastered over the years.

The Power of Cigars.

"You want compromise? How's this? 20 years in the can. I wanted manigot, I compromised, I ate grilled cheese off the radiator instead. I wanted to fuck a woman, but I compromised, I jacked off in the tissue." - Phil Leotardo

According to Slavoj Žižek "An normal paternal authority is an ordinary man who wears phallus as an insignia, he has something which provides his symbolic authority." For Tony Soprano, the cigar is his phallus, the symbol of his paternal authority in the domestic family as well as in the hierarchical structure of the crime family. When we first meet Tony in the opening credits, he is seen driving from New York to New Jersey and lighting up an enormous cigar along the way, obviously he is not a cigar, he possesses the cigar. This means he is not what this phallic insignia represents, but he possesses this phallus because of the role he is attempting to play and the authority derived from the phallic insignia. In the Mafia mythology of crime dramas, cigars are common place, cigars are synonymous with gangsterism and symbolic of excess, power and wealth. Notably in the opening credits, he only lights up the cigar after officially entering the Garden State through the New Jersey Turnpike; indicating that his authority is in New Jersey and not New York.

In one of the most overt use of this phallic symbol in the pilot episode, Tony has an anxiety attack whilst tending to a barbecue and puffing on a large cigar his ducks fly away. At first he appears content in his role preparing meat, a role once played by his father, for his loved ones whilst his beloved ducks remain in his pool. But when the ducks fly away, he suffers the attack and the cigar drops from his mouth, he is castrated. Tony's paternal authority is dependent on the presence of the family unit, whether that be a traditional nuclear family or a criminal organisation, consisting of subordinate members. The fear and anxiety of losing his loved ones, as well as his criminal brothers, would be a castrating experience for Tony - in the sense that Tony's position at the head of the table would be rendered meaningless. Yes, his position is one of power, but he dependent on the underlings for income and this generalises to his domestic life - there he is dependent on his family for love, comfort, food and other forms of gratification.

Many characters in The Sopranos suffer from or die from cancerous tumours or legions, this could be indicative of the nature of organised crime. The fact that smoking often is the cause of cancer may imply the doomed fate of those who play "Godfather". Johnny Sack spends most of his time on camera smoking and later dies of cancer. Though Sack is never seen smoking a large cigar, just cigarettes which are smaller and slimmer. This may imply a lack of potency in Sack's character or reflects his pragmatic approach to business. Something which Tony, and other characters, lack as they use violence to achieve many different aims. Interestingly, Gary Cooper, Tony's ideal American, died of prostate cancer. This is the true price of Tony Soprano's authoritarianism. Growth for the sake of growth, is this not the ideology of the cancer cell.

In the final episodes, Phil Leotardo becomes the Boss of the Lupertazzi crime family, one of New York's legendary Five Families, Leotardo is visibly smug and finally content in a position of power. It is only in this position of authority, as the paternal figure of a large crime family, does Phil light up a cigar. Prior to achieving such status in the underworld, Phil spent 20 years incarcerated and it is constantly suggested that during his incarceration that he engaged in homosexual intercourse. In years since his release from prison, Phil was notably aggressive and arrogant in his conduct. He patronised Tony during a sit-down and actively provoked retaliation from Soprano's soldiers in the aftermath of his brother's murder. Leotardo later orchestrated the murder of Vito Spatafore, out of deep feelings of violent homophobia which most likely stem from the self-hatred derived from his own activities in prison. It appears as though Phil Leotardo suffered from a massive Napoleon complex that could even rival Tony Soprano's "mother issues" and anxiety attacks.

However, it seems that Phil Leotardo may fall into the category of ridiculously obscene paternal antagonists, like Frank Booth or Bobby Peru, that Žižek identified in several David Lynch films. Phil overcompensates for his own feelings of sexual deviancy and emasculation through "uber-macho" behaviour. Particularly, in the form of over-the-top displays of violent homophobia, obscene threatening behaviour and horrific acts of violence. It could also be that Phil Leotardo, like Frank Booth and Bobby Peru, does not just possess a phallic symbol of authority like Soprano. But that he actually is the phallus. In the words of Žižek "It's not simply that they possess phallus, that they have phallus as an insignia of their authority. In a way they immediately are phallus."

In the finale, Phil Leotardo is shot in the head and chest before being run-over by his own car, which actually squashes his skull for all to see, this is symbolic of the destruction of the phallus and the paternal authority it represented. This fitting end is similar to the one met by Bobby Peru in Wild at Heart. Peru died by falling onto his own shotgun and literally blasting his head off by accident. The bloodied stocking Bobby wore to conceal his identity, containing the remnants of Peru's head land nearby, resemble a used condom. Just like Bobby Peru and Frank Booth, Phil Leotardo was an obscene paternal presence, devoid of any anxiety, fearless in the face of the consequences of his exuberant machismo - as exemplified by his violent tendencies towards torture, mutilation, beating and rape as well as murder.