Red is the New Black

I read a scathing indictment of stalking-horse Sarah Palin by Naomi Wolf, whom I respect but whose writing I often find perversely reactionary within the feminist canon. In this recent essay, Wolf makes a good case for the Rove/Cheney Axis having picked pliable Palin (chummy in that hillbilly Bush way and, based on her flirtatious body language, an equally adept liar) as the perfect tool and the solution to an overly principled John McCain. While I agree with and find interesting Wolf's central thesis concerning affable, weak figureheads and creeping fascism (although she goes a little histrionic toward the end of her essay) her blundering use of "S and M" as a kind of reactionary adjective for the embrace of threatening (capital B) Black accoutrement by modern police forces demonizes not only SM but fails (since no one has ever been stomped to death under an SMer's jack-booted heel) to draw a sufficiently grave image in the reader's mind of the potential threat of a full fascistic bloom.

As agents of the state go the great historical exponents of aggressive black paraphernalia are, of course, the Gestapo (Geheimestaatspolitzi or Secret State Police) and their superiors in the Schutzstaffel, the SS, who did indeed fetishize their costume. "Costume" is a fair characterization of high-ranking Nazi regalia owing to its operatic presentments, fussy personalization and lack of uniformity, but the black ensemble of the SS was originally designed as a uniform by SS officer Lars Bonne Rasmußen, introduced by Heinrich Himmler and manufactured by Hugo Boss. Although the Waffen SS (the "armed" combat corps, frontline ideological police and, later in the war, the field extermination squads for the "Final Solution") persisted in black colors throughout the Nazi era, domestic SS enforcers began moving toward Herr (army) feldgrau (gray-green) as the black uniform became increasingly identified among the German Volk with capricious, even gratuitous, bullying and corruption (see the excellent BBC documentary series War of the Century for the Nazi view of art as political legitimizer, and also Peter Cohen's brilliant Architektur des Untergangs ("Architecture of Doom") for a penetrating overview of the totality of the Nazi aesthetic, blackened and otherwise. Finally, Albert Speer's memoir, Inside the Third Reich, illuminates the dark power of perception management and the depth of public docility martial bombast can engender).

Ignoring Nazism, Wolf's one nod in the direction of meaningful Fascism/black associations is toward Mussolini's "Blackshirts", but even that's wide of the mark as the Blackshirts were the voluntary militia arm of the inchoate Italian Fascist movement - not state-sponsored, certainly not when they were founded, and then only tenuously once Mussolini came to power. Before the Nazis claimed legitimacy in '33 the SS were Hitler's personal bodyguard - the Brownshirts, however, did most of the stomping. With respect to state-sponsored thuggery Wolf has missed the SS/Gestapo connection utterly in favor of prosecuting a parochial antipathy against SM - a stateless social group, a culture if you like, and at best (giving Wolf the benefit of the doubt) an NGO - that advocates consent as among its first principles and has never had any material effect on anyone not in its own ranks.

Naturally I'm sensitive to such misappropriations, especially from the political camp to which I claim some allegiance, but it's I think instructive to note Wolf's use of the the stalking horse metaphor ("FrankenBarbie") for Palin, a device Wolf (like Rove) seems quite content to use when it advances her own demagoguery against "the other", in this case SM. It's no less mendacious, in my opinion, than the kind of rabble-rousing currently deployed by the Republicans desperately flogging a insubstantial connection between Barack Obama and one William Ayers, neighbor and one time party host to Obama, and a former member of the Weather Underground (known as "subversive" when they were active, but now conveniently called terrorists (in the present tense) by McCain, Palin and their acolytes).

Of the independently verified vacuity of a Obama / Ayers cabal McCain says "We need to know that's not true." Sure they do. For a generation, arguably since Nixon (who birthed the culture wars), conservatives in this country have needed to know that the truth is whatever the pathocracy tells them is required to control and banish "the other". What a pity that Wolf should stoop to the same ponerological tactic in her Palin/Black/"S and M" conflations.

Wolf could have set her "FrankenBarbie" arguments to right by simply stating that Palin and McCain have a lot to gain by steering attention away from Palin's hardwired associations with the Alaskan Independence Party, which advocates violent secession of Alaska from the Union and at whose conventions Palin has spoken more than once, as recently as this year. Better still, such red herrings distract from Palin's active membership in certain radical congregations of the Assembly of God church, which makes no secret of its lust for Armageddon and its aim in the meantime to install a theocracy in the US. Then there's McCain's memorable turn with as Number 1 of the cast of The Keating 5 at the outset of the last major bank failure, forgotten only to those now voting for the first time.

Regrettably, Naomi Wolf sees intellectual honesty in likely the same way Karl Rove and Dick Cheney understand it, as a trap that confounds the efficacy of spurious associations made to fan righteous fear among true believers, such as the Obama / Ayers canard, or, as in Wolf's case, the fusion of "S and M" and Fascism.

Ring Around the Collar

The cards and letters keep coming...

I am having trouble figuring out BDSM culture... I'm very interested in collaring and wonder if you've ever collared a partner or participated in the ceremony, or can tell me more about the symbolism and so forth. I don't even know what I would wear with a collar! How for example did collaring become special in BDSM? Also, do you have anything you can say about wearing a collar in mainstream society? Obviously I know you don't wear one, but maybe you know people who do.

This from someone who stumbled into kink through association with an artist friend we have in common. I've not heard of what progress she's made in her experiments, but elaborating on my reply to her for posting here has been interesting.

I understand that as a novice the norms and mores of the "culture" should be of exceptional interest, but what I think I know on this front is likely of very small value to someone for whom the interest is keen. Many years of exposure to and participation in (to varying degrees) the club, porn, house, Internet, fine art and political BDSM scene has lead me to surmise the following with respect to norms in BDSM and that which, within the framework of an interpretive apparatus, would identify it as a distinct culture: they are the very norms that identify the larger culture from which they emerge, merely amplified.

Let's consider the example of collaring. When two people avow to one another that between them a commitment to one another obtains, it is customary in the West for this oath to be materially symbolized somehow. In my business I use contracts - legally defensible though they may be, they are in fact merely betokenings of a common understanding. In trade, value is expressed via money, which, like a spoken word, has no intrinsic value other than that ascribed to it by the receiving party; even gold fluctuates daily with respect to the perception of its worth.

In marriage, we use rings, a convention which, as I understand it, emerged from Egypt and is symbolically derivative of the Uroboros, the serpent consuming its own tail and symbolizing the pelastrational nature of integration and assimilation (see Mysterium Coniunctionis by C.G. Jung). Moving forward a couple of millennia, the Romans had culturally calibrated the ring symbol as representative of value, and employed expensively tooled rings of precious metals as trade goods in marriage - the wedding band was regarded as a legal agreement expressing ownership of its wearer, i.e., the woman. Arguably, we preserve more of our current cultural, civic, intellectual and social cues from the Greco-Roman tradition than have persisted from the high era of the Pharaohs.

Even in our modern age we speak of "taking" a mate, and wedding bands are looked to as symbols of "goods" that are "spoken for". I never remove my band, and it is frequently a topic of conversation with partners who are eager to plumb the meaning of the ring as I've perverted it. Even among long-time kinky people there is often the residuum of cultural conditioning regarding possession and its symbols. One learns about one's kink on the tricky terrain of intimacy - through vulnerability, openness and the making of mistakes, false assumptions, or sometimes going 'round in circles (or, if you're lucky, in the making of circles, such as dear A. below - ed.).

In that accelerated world, the lessons come more quickly, more clearly and often more extensibly. This is how it is, I think, that kinky folk tend toward the somewhat more polite and decorous end of the spectrum in the broader cross-section of society. Again, not different so much as simply amplified.


A collar is, to my thinking, merely a variation on the same theme, albeit amplified to an unambiguous degree, whereas the ancient meaning of the wedding band has been diluted by years and the general principle of democratization. Collaring is something we do with our pets, a factor in our lives our laws tell us we "own" and for which we are responsible. I expect the pervy world to keep pace with whatever most clearly and most subversively represents unambiguous commitments (which, of course, are every bit as fragile over the long haul as any commitment expressed elsewhere in society), be it collars or something else. That it be openly defiant or contrary to convention is definitionally its perversity.

Personally, I find collaring symbolically facile. In far more recent times metal collars and chains were expressive of ownership and were also punitive instruments, as they are still. Yet, today, the wearing of metal chains about the neck is not merely fashionable, it's practically uniform. The more bombastic and aware of the Gangsta community here in Brooklyn openly declare the wearing of heavy metal chains about their necks as the subversion and appropriation of a potent symbol from the habit of their historic white oppressors. It is apt, therefore, that proper white society should look upon black "bling" with distaste and discomfort, for it is emblematic of pain white visited upon the body of black on these shores. In much the same spirit the word "nigga" is now exclusively the dominion of black-on-black communication. There is no white person still standing who does not appear a knuckle-dragging cracker should the word escape his lips with any sense of conviction.

Given that most kinky folk come from solidly middle class circumstances and would not be thought "oppressed" in any conventional sense of the term, one wonders about the subversive value of the collar, or what exactly is being defused through reappropriation. This is true for all symbolic expression in kink. The psycho-historical aspect to kinky expression may not be as labyrinthine as Gangsta culture, but then again, perhaps it is. Another way of looking at the issue may be to follow the path backward to what the dominant culture identifies and endorses as normal, and see how behaviors someone such as myself (a scion of middle class comfort if ever there was one) practice (and even call sacred) emerge from that so-called normalcy. In the end, all subcultures end up being commentaries on that of which they are derivative.

Fine Art 101

First among the bits I'll put up of my work with other artists is credited to Barbara Nitke. Today's are from her advertising portfolio. I am in a few of these (we have given me the designation "Macground" since I am mostly just presence), but my in-frame co-conspirator and the person to whom you will be giving most of your attention is model and actress Ming Jin. Her devastating make up is by Khush Singh. This set was inspired by the film Lust, Caution, and we shot against the most elegant cargo elevator in NYC.


Barbara and I have been working collaboratively for years on several of her portfolios, and whenever she envisions rope being included as an element in her pieces, no matter how little, we link up. We often seem to end up with more bondage than might have been originally intended (and I frankly can't tell in the end who among us (models included) is responsible for failing to rein it in) but the results have been uniformly fabulous.

Barbara is not a practitioner of rope, but she is a long-time student of BDSM who intuitively understands the same thing I do about its efficacy in collapsing perceptions of space and difference between partners in a scene. Her last book, Kiss of Fire, is is a great chronicle of BDSM in NYC before it came above ground, and reveals Barbara's talent for capturing the spiritually humane, some have even said religious, import of BDSM.


I may say more about these and other of Barbara's pictures I'll post here, but for the time being I'll just let the images do the talking (and the first thing they'll tell you in no uncertain terms is that Barbara owns the copyrights).


Well, I will add that what you're looking at are the raw images, un-retouched by Barbara's considerable expertise in that department. Of the very few images that will actually enter her portfolio these may or may not be among the elect. From this particular shoot, however, these are among my favorites and representative of my continuing interest in Barbara's project.

This, Too, has Passed

I don't generally cross-post here, but every now and again someone will nail it so well that I have to prostrate myself in the direction of their URL.

A dear friend of mine allowed once that she consorts almost exclusively with gay and married men because both understand womanliness from the inside out. Simon Doonan (who is gay and married and likely has to deal with prostrations happening in his general direction pretty much constantly) writes ostensibly on fashion - but this is merely a guise for his more evolved talents, which lie with his reverent observation of the fairer sex and the efficacy of same as being and metaphor on the cultural collocution. See his latest opus stupendous here (the good news: skank homogeneity is out, glam eccentricity is back (rewarding the patience of the few, the proud and the faithful)).