Blowjobs have played an occasional but important part in political history. The most notable recent example, of course, involved Bill Clinton. It was his equivocation over the nature of his relations with Monica Lewinsky that led to him being impeached on perjury charges. A century before Clinton, another president had an even more decisive oral-sex-related experience. Félix Faure, President of the French Republic between 1895 and 1899, was unlucky enough to die in office from a cerebral haemorrhage which he supposedly suffered while being fellated by his mistress.
The latest entry in the annals of political crises involving blowjobs doesn’t concern the act itself, however, but rather the word. Specifically, it concerns the use of the word as a political insult. And even more specifically, an insult expressed by means of car vanity plates.
Blue Velvet is a film with an enduring power to unsettle viewers. Its unique brand of ‘darkness in colour’ (to borrow Pauline Kael’s phrase) features also at the level of language, with the cornball goofing of its young sweethearts set against the malevolent and compulsive profanity of Frank Booth, played by Dennis Hopper.
For his book Lynch on Lynch, Chris Rodley asked David Lynch if all of Frank’s fucks were in the script or if any were improvised. Lynch replied:
I had many, many, many of them written in the script, but Dennis always added more, because you get on a roll, and you can’t help yourself. And if an actor is locked into the groove so solidly, even if they say extra lines, or not exactly the way they’re written, they’re truthful. And for me Dennis was one of those guys. He always says that I could never say the word on set and that I would go to the script and say, ‘Dennis, when you say this word.’ [Laughs.] That’s not true exactly.
The filmmakers initially passed on Hopper because of his reputation, but the actor persisted and Lynch, thankfully, reconsidered. Without presuming to psychoanalyze Booth – ‘there’s enough material there for an entire conference,’ as the psychiatrist said of Basil Fawlty – we can see in his profanilect* motifs of incest, defecation, and violence, among other things. He swears inventively but also routinely, and constantly.
Enough fucking about. Let’s look at some examples. (Spoiler and trigger warnings ahoy.)
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.
How much do you love swearing? Enough to order a mystery box of swear-themed merchandise? Enough to order a monthly delivery of mysterious sweary shit? For a whole year?
Emily Simonis, a graphic designer, embroidery artist, and self-described “resident profanity expert” in Milwaukee, Wisconsin, is counting on a lot of affirmative answers. Her new subscription business, CussCrate, is dedicated to the proposition that people need, in her words and capitalization style, MORE PROFANITY. We at Strong Language agree! So Emily graciously sent a sample box for us (OK, me, Nancy) to review.