Limited Control

A Companion to the Jim Jarmusch Resource Page 

The Limits of Control, by William S Burroughs (1975)

I
There is a growing interest in new techniques of mind-control. It has been suggested that Sirhan Sirhan was the subject of post-hypnotic suggestion, as he sat shaking violently on the steam table in the kitch of the Ambassador Hotel in Los Angeles while the as-yet unidentified woman held him and whispered in his ear. It has been alleged that behavior-modification techniques are used on troublesome prisoners and inmates, often without their consent. Dr. Delgado, who once stopped a charging bull by remote control of electrodes in the bull's brain, left the U.S. to pursue his studies on human subjects in Spain. Brainwashing, psychotropic drugs, lobotomy and other, more subtle forms of psychosurgery; the technocratic control apparatus of the United States has at its fingertips new techniques which if fully exploited could make Orwell's 1984 seem like a benevolent utopia.

II
But words are still the principal instruments of control. Suggestions are words. Persuasions are words. Orders are words. No control machine so far devised can operate without words, and any control machine which attempts to do so relying entirely on external force or entirely on physical control of the mind will soon encounter the limits of control.

III
A basic impasse of all control machines is this: Control needs time in which to exercise control. Because control also needs opposition or acquiescence; otherwise, it ceases to be control. I control a hypnotized subject (at least partially); I control a slave, a dog, a worker; but if I establish complete control somehow, as by implanting electrodes in the brain, then my subject is little more than a tape recorder, a camera, a robot. You don't control a tape recorder - you use it. Consider the distinction, and the impasse implicit here. All control systems try to make control as tight as possible, but at the same time, if they succeeded completely there would be nothing left to control. Suppose for example a control system installed electrodes in the brains of all prospective workers at birth. Control is now complete. Even the thought of rebellion is neurologically impossible. No police force is necessary. No psychological control is necessary, other than pressing buttons to achieve certain activations and operations.

IV
When there is no more opposition, control becomes a meaningless proposition. It is highly questionable whether a human organism could survive complete control. There would be nothing there. No persons there. Life is will (motivation) and the workers would no longer be alive, perhaps literally. The concept of suggestion as a complete technique presupposes that control is partial and not complete. You do not have to give suggestions to your tape recorder nor subject it to pain and coercion or persuasion.

V
In the Mayan control system, where the priests kept the all-important Books of seasons and gods, the calendar was predicated on the universal illiteracy since they operate through the mass media - a very two-edged control instrument, as Watergate has shown. Control systems are vulnerable, and the news media are by their nature uncontrollable, at least in Western society. The alternative press is news, and alternative society is news, and as such both are taken up by the mass media. The monopoly that Hearst and Luce once exercised is breaking down. In fact, the more completely hermetic and seemingly successful a control system is, the more vulnerable it becomes. A weakness inherent in the Mayan system is that they didn't need an army to control their workers, and therefore did not need an army when they needed one to repel invaders. It is a rule of social structures that anything that is not needed will atrophy and become inoperative over a period of time. Cut off from the war game - and remember, the Mayans had no neighbors to quarrel with they lose the ability to fight. In "The Mayan Caper" I suggested that such a hermetic control system would be completely disoriented and shattered by even one person who tampered with the control calendar, upon which the control system depended more and more heavily as the actual means of force withered away.

VI
Consider a control situation: ten people in a lifeboat. two armed self-appointed leaders force the other eight to do the rowing while they dispose of the food and water, keeping most of it for themselves an doling out only enough to keep the other eight rowing. The two leaders now need to exercise control to maintain an advantageous position which they could not hold without it. Here the method of control is force - the possession of guns. Decontrol would be accomplished by overpowering the leaders and taking their guns. This effected, it would be advantageous to kill them at once. So once embarked on a policy of control, the leaders must continue the policy as a matter of self-preservation. Who, then, needs to control others but those who protect by such control a position of relative advantage? Why do they need to exercise control? Because they would soon lose this position and advantage and in many cases their lives as well, if they relinquished control.

VII
Now examine the reasons by which control is exercised in the lifeboat scenario: The two leaders are armed, let's say, with .38 revolvers - twelve shots and eight potential opponents. They can take turns sleeping. However, they must still exercise care not to let the eight rowers know that they intend to kill them when land is sighted. Even in this primitive situation force is supplemented with deception and persuasion. The leaders will disembark at point A, leaving the other sufficient food to reach point B, they explain. They have the compass and they are contributing their navigational skills. In short they will endeavor to convince the others that this is a cooperative enterprise in which they are all working for the same goal. They may also make concessions: increase food and water rations. A concession of course means the retention of control - that is, the disposition of the food and water supplies. By persuasions and by concessions they hope to prevent a concerted attack by the eight rowers.

VIII
Actually they intend to poison the drinking water as soon as they leave the boat. If all the rowers knew this they would attack, no matter what the odds. We now see that another essential factor in control is to conceal from the controlled the actual intentions of the controllers. Extending the lifeboat analogy to the Ship of State, few existing governments could withstand a sudden, all-out attack by all their underprivileged citizens, and such an attack might well occur if the intentions of certain existing governments were unequivocally apparent. Suppose the lifeboat leaders had built a barricade and could withstand a concerted attack and kill all eight of the rowers if necessary. They would then have to do the rowing themselves and neither would be safe from the other. Similarly, a modern government armed with heavy weapons and prepared for attack could wipe out ninety-five percent of its citizens. But who would do the work, and who would protect them from the soldiers and technicians needed to make and man the weapons? Successful control means achieving a balance and avoiding a showdown where all-out force would be necessary. This is achieved through various techniques of psychological control, also balanced. The techniques of both force and psychological control are constantly improved and refined, and yet worldwide dissent has never been so widespread or so dangerous to the present controllers.

IX
All modern control systems are riddled with contradictions. Look at England. "Never go too far in any direction," is the basic rule on which England is built, and there is some wisdom in that. However, avoiding one impasse they step into another. Anything that is now going forward is on the way out. Well, nothing lasts forever. Time is that which ends, and control needs time. England is simply stalling for time as it slowly founders. Look at America. Who actually controls this country? It is very difficult to say. Certainly the very wealthy are one of the most powerful control groups, since they are in a position to control and manipulate the entire economy. However, it would not be to their advantage to set up or attempt to set up an overly fascist government. Force, once brought in, subverts the power of money. This is another impasse of control: protection from the protectors. Hitler formed the S.S. to protect him from the S.A. If he had lived long enough the question of protection from the S.S. would have pose itself. The Roman Emperors were at the mercy of the Praetorian Guard, who in one year killed twenty Emperors. And besides, no modern industrial country has ever gone fascist without a program of military expansion. There is no longer anyplace to expand to - after hundreds of years, colonialism is a thing of the past.

X
There can be no doubt that a cultural revolution of unprecedented dimensions has taken place in American during the last thirty years, and since America is now the model for the rest of the Western world, this revolution is worldwide. Another factor is the mass media, which spreads all cultural movements in all directions. The fact that this worldwide revolution has taken place indicates that the controllers have been forced to make concessions. Of course, a concession is still the retention of control. Here's a dime, I keep a dollar. Ease up on censorship, but remember we could take it all back. Well, at this point, that is questionable.

XI
Concession is another blind. History shows that once a government starts to make concessions it is on a one-way street. They could of course take all the concessions back, but that would expose them to the double jeopardy of revolution and the much greater danger of overt fascism, both highly dangerous to the present controllers. Does any clear policy arise from this welter of confusion? Than answer is probably no. The mass media has proven a very unreliable and even treacherous instrument of control. It is uncontrollable owing to its need for NEWS. If one paper, or even a string of papers owned by the same person, makes that story hotter as NEWS, some other paper will pick it up. Any imposition of government censorship on the media is a step in the direction of State control, a step which big money is most reluctant to take.

XI
I don't mean to suggest that control automatically defeats itself, nor that protest is therefore unnecessary. A government is never more dangerous than when embarking on a self-defeating or downright suicidal course. It is encouraging that some behavior modification projects have been exposed and halted, and certainly such exposure and publicity should continue. in fact, I submit that we have a right to insist that all scientific research be subject to public scrutiny, and that there should be no such thing as "top-secret" research.


-- -- --
lifted off:
http://eng7007.pbwiki.com/BurroughsControl 

Reprinted in Word Virus: The William S. Burroughs Reader
Grove Press, 2000
ISBN 080213694X, 9780802136947

-- -- --

Jim Jarmusch, in The Rolling Stone Book of the Beats

Burroughs is the true godfather of outlaw artists. He was always hovering in the shadows, always suspicious of human nature and authority. Burroughs made us look for what masks the truth. He was always suspicious about movies, saying the truth can't possibly be found in twenty-four frames a second. In the greatest sense, Burroughs made me think about what's supposedly permissible in art.


http://www.jim-jarmusch.net/miscellanea/author_jim_jarmusch/appraisals/william_burroughs.html

Filed under  //   The Limits of Control  

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Blonde Woman

Her character is known only as Blonde Woman. "Jim Jarmusch wouldn't want me to say anyhting about it because he's terrified that someone is going to tell him what the film is about," Swinton says, laughing.

Sunday Mail, September 21

http://www.news.com.au/couriermail/story/0,23739,24370785-7642,00.html

Filed under  //   The Limits of Control  

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Stranger Desire

In 1996, Salvage Vanguard Theater in Austin, Texas developed and presented a play which, according to its author, David Bucci, is "an abstraction/compression of Streetcar Named Desire and Stranger Than Paradise". The play is called "Stranger Desire", and the script, provided below, can also be downloaded from Bucci's homepage:
http://www.geocities.com/thriftyluxury/BUCCI/scripts.html

Filed under  //   recycled   Stranger Than Paradise  

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Connecting the white stripes

These last few years have seen a number of collaborations between Jim Jarmusch and rock musician Jack White (of The White Stripes & The Raconteurs). For the sake of trivia, here's an overview:

May 2003 ­ – Jim Jarmusch interviews Jack and Meg White (The White Stripes), in Interview Magazine [here].

September 2003 – Coffee and Cigarettes premieres at the Venice Film Festival. The White Stripes star in the segment "Jack Shows Meg His Tesla Coil".

Summer 2004 ­ – In an interview, Jim Jarmusch mentions that The White Stripes recently asked him to direct one of their videos, but that he had to turn them down due to lack of time.

2005 – Not strictly a collaboration with Jack White, but close enough: Broken Flowers is released, featuring two songs by by The Greenhornes – "There is an End," a collaboration with Holly Golightly (who was also featured on the 2003 White Stripes song, "It's True That We Love One Another"), and "Unnatural Habitat". In 2004, Jack Lawrence and Patrick Keeler of The Greenhornes were in The Do-Whaters, a band formed and led by Jack White (2004), and again teamed up with him, forming the Raconteurs in 2006 (along with Brendan Benson). Furthermore, The Greenhornes opened for the White Stripes on tour, in 2005.

January 2006 – ­ The White Stripes release a limited edition (2.000 pressed) double A-sided 12" vinyl single with remixes of "Blue Orchid" by Michel Gondry and Jim Jarmusch.

[Remarkably, still on sale here]
[Some more info here]

   
A snippet of Jamusch's mix:

Blue Orchid (First Nations Remix) by The White Stripes  

 


March 2006 ­ – The Racounteurs release two videos for "Steady As She Goes", one of them directed by Jarmusch.


August 31, 2006 – Jim Jarmusch joins The Raconteurs on stage at the MTV Music Video Awards as they perform "Internet Killed the Video Star".

Anything else that I've missed?

Filed under  //   Coffee and Cigarettes   Music  

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Dark Day


In the early 1980's, right before he was a member of the Del-Byzanteens (see two posts below), Jim Jarmusch was tangentially involved in another act, called Dark Day, the brainchild of Robin Crutchfield, following his separation with no wave band DNA. By the time of their first album, "Exterminating Angel" (Lust/Unlust, 1980), the group consisted of Crutchfield, Phil Kline, Barry Friar and a revolving lineup of artists which included Steven Brown and Peter Principle of Tuxedomoon, Nina Canal, David Rosenbloom, and Jim Jarmusch:

Our first concert as Dark Day was played at The Mudd Club, with Nina filling in at the last minute on drums. Phil Kline was the guitarist, friend of writer/coworker Luc Sante at the bookstore where I worked. He was also best friends with Jim Jarmusch and was pursuing an interest in film music. David Rosenblum played bass. He was a coworker of mine, interested in pursuing his own musical directions with a band more into jazz-fusion.

Dark Day continued to play a number of gigs locally at CBGB's, Max's Kansas City, Hurrah's, Tier 3, The Mudd Club, and even a gig at Tracks with Jim Jarmusch guesting on synthesizer and Peter Principle (from Tuxedomoon) on bass. Then I became despondent. New songs weren't forthcoming. Phil wanted to continue gigging for the extra income. The only money he and Barry made from Dark Day was what we made doing concerts. I didn't enjoy live gigs and preferred studio work. Phil became involved in his own project, the DelByzanteens, and Barry got more involved in drugs. We drifted apart.

from Robin Crutchfield, "Darker Days As I Recall Them"


The first Dark Day single, "Hands In The Dark/Invisible Man" on the Lust/Unlust label, featured Crutchfield's singing and modified electric piano backed by Nina Canal (of the Gynecologists and more recently, Ut) and Nancy Arlen (of Mars). Give it a listen:

Hands In The Dark by Dark Day  

 

more info at:

http://www.myspace.com/rlcrutchfieldsdarkday
http://robincrutchfield.com/
http://cdbaby.com/all/robincrutchfield

Filed under  //   Music  

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On record #4

"Stranger Than Jim" (dedicated to Jim Jarmusch), by Pierre Dørge's New Jungle Orchestra, from their 1999 cd "Giraf".

Stranger Than Jim by New Jungle Orchestra  

Filed under  //   Music   On record  

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The Del-Byzanteens - moving (slowly) into the digital age

I've already posted an entry about the Del-Byzanteens (the No Wave band that Jim Jarmusch was a vocalist and keyboardist in) here before (July 24), and I also have section on them in the Resource Page. To recapitulate:

They released a 12" ep ("Girl's Imagination", 1981), an LP ("Lies to Live By", 1982) and a 7" single ("Draft Riot", 1982), all by a British record company called Don't Fall Off the Mountain (a section of Beggars Banquet).

They played a number of concerts at clubs such as CBGB:s, Hurrah and the Mudd Club in New York City. Two of their songs were featured in Wim Wenders' 1982 film "The State of Things". At the time, The Hot Press said that their debut LP was "a debut equal to anything out of New York these past six years", and Melody Maker followed suit: "This is mighty stuff... You are strongly urged to investigate this record... outstanding". Like Jim, many of its members have gone on to become famous in their own right, making music (Phil Kline), art (James Nares), and writing (Luc Sante).

Thing is – while you'd be forgiven for suspecting otherwise, they actually made a number of really good songs, somewhere in the vicinty of... oh, I don't know, The Fall, Cabaret Voltaire, New Order, Violent Femmes, Talking Heads and early 80's British "new romantic" bands.

Problem is – it's not easy to get hold of their music. Their back catalogue has never been re-issued on cd, and even on ebay the old vinyls are a rare sight. "Girl's Imagination" was featured on the Beggars Banquet's 1999 compilation "Pspyched", and again on the Gomma compilation "Anti-NY" in 2001, while "My Hands Are Yellow (from the job that i do)" was released on "New York Noise" Vol 2 (listen to a snippet on the linked page), in 2003. And that's it! There's nothing whatsoever on iTunes.

Of course, with good googling skills, a p2p-application, good patience and a bad conscience it shouldn't be all that hard to get hold of something off "the cloud", but there are also slightly more legal ways (I assume) of catching their music. The "Official MySpace Page" for the Del-Byzanteens will let you listen to streams of six of their songs, of which one is a previously unreleased demo track ("Fascination"; dated 1986!), and the page also contains three downloadable mp3's (actually four, if you look closely!). Also, mp3 blog portals like The Hype Machine will usually find you a track or two.

The MySpace page also hosts a great picture gallery of photos and flyers, along with three video clips of the Del-Byzanteens on stage (at the Hurrah club), filmed by Merrill Aldighieri. And here's the best news so far --- on her website, only a few weeks ago, she posted the clip linked below, along with this note:

There are 3 full concerts of Del BYZATEENS in the Hurrah collection... A feature legnth DVD based on the Del Byzanteens live performances at Hurrah has begun. Look here for an announcement for the release.

("Here" being here)

So – the Del-Byzanteens, it seems, are surely though ever so slowly making it into the digital age. Let's hope the concert DVD will indeed soon see the light of day, and let's hope somebody somewhere realizes that the Del-Byzanteens back catalogue is more than due for a cd re-issue!

 

- Read more about No Wave: here and here.
- Read more about downtown Manhattan in the late 70's to early 80's, in this article by Luc Sante (who is currently writing a book about the period)
.

Filed under  //   Del-Byzanteens   Music  

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On record #3


Feeling down by law like I was Jim Jarmusch
Pictures in my brain just like Diane Arbus

Bomb the Bass (w/ Justin Warfield), "Brain Dead", from the 1995 album "Clear".

Brain Dead by Bomb The Bass/Justin Warfield  

Filed under  //   Music   On record  

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An Andalucian Log

Somebody alerted me to a site hosting a number of photos from the set of The Limits of Control. They were taken (apparently on the sly) in Senés, Almería, in Andalucia, Spain, by Pablo Rodriguez, in March earlier this year. They include shots of Jim Jarmusch, Gael García Bernal, Isaach De Bankolé, among others.


http://www.supercable.es/~almeriaclips/galerias/limitsof/index.htm

                                   

 

I also discovered an article in Paste Magazine (February 2008), claiming that Roman Polanski and Javier Bardem are "suspected for cameos", though I'm not sure where that rumor originates.

http://www.pastemagazine.com/articles/2008/02/jim-jarmusch-to-control-bill-murray-javier-bardem.html

Filed under  //   The Limits of Control  

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The Blues She Is My Friend

Greg the Bunny was a short-lived American sitcom that originally aired on Fox in 2002. It starred Seth Green and a hand puppet named Greg the Bunny, originally invented by the team of Sean S. Baker, Spencer Chinoy and Dan Milano. In 2005, Greg the Bunny returned to the Independent Film Channel, in a series of short segments spoofing movies such as Annie Hall, Miller's Crossing, Barton Fink, Fargo, Blue Velvet, Easy Rider, Pulp Fiction, and Down By Law:



IFC, 2005, season 1, episode 14, "The Blues She Is My Friend"

http://en.wikipedia.org/wiki/Greg_the_Bunny

Filed under  //   Down By Law   recycled  

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