With the passing of Scott Walker, who found pop-music fame as a member of the Walker Brothers before setting out on an inimitable solo career, the singer’s best-known work has been making the rounds online. One particularly memorable song from Walker was his first solo single, “Jackie,” released in December 1967. “Jackie” was an English-language rendering of Jacques Brel’s “La chanson de Jacky,” translated from French by Mort Shuman (a Brill Building songwriter who would go on to co-create the musical revue Jacques Brel is Alive and Well and Living in Paris). Both the French and English lyrics were quite racy for the time. The English chorus, as unforgettably delivered by Walker, goes:
If I could be for only an hour
If I could be for an hour every day
If I could be for just one little hour
A-cute-cute in a stupid-ass way
Profanity, sometimes the language of celebration, also often gives us something to celebrate. In comedy, it can signify a character’s superiority to situation, the fluid personality unimpeded by almost inevitably hostile circumstance, even if that’s just the prospect of meeting someone in a bar, or dealing with star-crossed love or your crazy parents, or whatever. Profanity provokes a smile or chuckle, too, when it’s used against type, when the good girl emits an unexpected fuck. Who saw that coming? It’s a verbal pratfall.
In earlier installments of the bitch chronicles, we’ve observed these stylistic effects in the situation comedy How I Met Your Mother, its sure-tongued use of son of a bitch and various euphemisms for it, especially Lily Aldrin’s Inigo Montoya-influenced You son of a beetch. It was all in good fun, but some of HIMYM’s bitching appropriates Black Language and whitewashes it for a mass audience. That’s not fun for everyone. On this point, HIMYM is inadvertently political. Its misappropriations of African American-inflected bitch ring false and rather than promote comedy interfere with it, at least for some viewers.