Reverse Jekyll and Hyde

THE LANA DEL REY STORY

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I’VE BEEN THINKING about the career of pop singer Lana Del Rey after reading a 2012 article about her in The Guardian. About how she was going nowhere under the moniker Lizzy Grant– then changed her name and with it, her musical persona. As the article relates, “She married her music to a mysterious image, self-styled as a ‘gangster Nancy Sinatra,’ that paid homage to 1960s fashions and seedy showbiz glamour.”

A created character, with more confidence. That is, until word got out about her previous self, and the mask dropped when she appeared on Saturday Night Live. “She gave a hesitant, uncertain performance – suddenly more Lizzy Grant than Del Rey–“

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This is straight out of the 1963 Jerry Lewis movie “The Nutty Professor” (remade by Eddie Murphy)– when hyper-confident, hyper-aggressive “Buddy Love” begins to unintentionally transform back into the uncertain professor who created the character.

(For what the off-camera Jerry Lewis was like, read producer Alan Swyer‘s recent NPL  essay on the topic.)

Call it Reverse Jekyll-Hyde. Instead of the mad doctor creating a less attractive alter ego, he creates a more attractive one.

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This is essentially what Hollywood stars Marion Morrison (John Wayne), Archibald Leach (Cary Grant), and Norma Jean Baker (Marilyn Monroe) did.  While there was some connection between the previous individual and the created persona, much was a kind of fantasy projection of who the person wanted to be. Or who Hollywood agents, directors and producers wanted the person to be. Cary Grant/Archie Leach famously said that it took a lifetime of pretending to be Cary Grant until he actually was Cary Grant.

HAVE any writers created alter-egos?

Yes. Ernest Hemingway for one, who followed the philosophy of be your own hero. As several of his biographers make clear, “Ernest Hemingway” was in large part a self-created myth.

A topic to think about when considering ways that what’s known as “Literature” can break out of its tiny cultural box!
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-Karl Wenclas, New Pop Lit NEWS

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Contradictions of the Left

OR, ABSENCE OF THE AUTHENTIC

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WE’VE ALREADY examined some of those contradictions, in our analysis of n+1 magazine and of The Baffler. Today we look at another “hard left” publication, Current Affairs, founded and edited by Nathan J. Robinson.

WHAT readers of his magazine and Robinson himself don’t seem to realize is that any revolution which springs from Harvard University– where Robinson is a Phd candidate– is co-opted from birth. Sold out at the start. It wouldn’t matter what label they put on themselves or their system: “Marxist.” “Communist.” “Democratic Socialist.” It’d be packaging. Labels like the kind slapped on soup cans. At the core of things nothing will have changed. The same people will be in charge. The same careerist technocrat mindset would dominate.

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Why else does someone attend Harvard or Yale (Nathan Robinson has been enrolled in both places) other than to be at the top of the pyramid? After the revolution it’d be the same hierarchy, with a twist in messaging. (Robinson is said to be good at messaging.) Nathan J. Robinson and his Ivy League editorial colleagues carry that stratified hierarchy within them. It’s embedded in them.

Doubt this? Who runs the civilization now? Two of the richest men on the planet, Bill Gates and Mark Zuckerberg, both attended Harvard. The founders of Google went to Stanford University, which is almost as elite. Jeff Bezos of Amazon went to Princeton.

Politics? Every President of the United States from 1988 on before the present one was a graduate of Harvard or Yale. Or in George W. Bush’s case, both. Donald Trump went to the Wharton School, which is part of the University of Pennsylvania, an Ivy League university.

Do we see a pattern?

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Oh, but Nathan J. Robinson, like his peers at other leftist magazines, is different. His ideas are different. He’s a socialist. Probably, a Marxist. He cares. He really does.

I suspect that in their New Socialist World they’d be part of Shigalov’s Ten Percent– still at the top of the pyramid, controlling the people– for their own good of course.

WHAT’S HAPPENING?

Just as in every person there’s a conscious and subconscious, so also there’s the role the person plays– the face shown to the world– and the authentic individual sitting behind the John Keegan “Mask.” They’re not always the same. If ever the same.

Who’s the real Nathan J. Robinson?

Is it leftist radical at the forefront of a neo-Marxist intellectual movement? Or the son of a man who worked in international corporate training? (And no doubt taught young Nathan J. many corporate world tricks.) Scion of money and achievement– is that Nathan’s core reality? At crunch time, would Robinson throw his advantages away? Really?

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THE FLIP SIDE is the person from hardship and poverty passing as an exemplar of class and refinement. This was not only a plotline of many plays (see Pygmalion) and Hollywood movies– it was much of Hollywood reality. Witness the careers of Cary Grant and Clark Gable, who transformed their very beings– their voices, gestures, dress, speech, teeth– to fit the role they wanted to play.

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A BETTER EXAMPLE is the career of Elvis Presley. Dirt poor. Born in a shack. The embodiment of “white trash.” When he became massively successful he suddenly found himself playing doctors or suave playboys in Hollywood movies. In “Blue Hawaii,” the slumming son of big money.

Did he fool anybody?

That Elvis was out of place was part of the appeal. It was fantasy. He was living the dream. His audiences knew it and loved it.

Elite intellectuals of the Harvard/Stanford variety (except for a few rock n roll fanboy writers) never accepted Elvis as legitimate and to this day haven’t accepted him. Rock music itself was not taken seriously as an art form until middle-class pseudo-intellectual troubadour Bob Dylan began playing it. That’s reality.

-K.W.