New Zealand comedy duo Flight of the Conchords, consisting of Bret McKenzie and Jemaine Clement, had a two-season TV series in 2007–09 full of inspired parody and goofy adventures. The show’s language is generally mild or euphemised:
So when truly strong language is called for, it’s a big deal. Here, mild-mannered and long-suffering band manager Murray Hewitt finally loses his patience:
The Greek philosopher Plato wrote, “Forms and rhythms in music are never altered without producing changes in the entire fabric of society.” He also said, “No evil can happen to a good man, either in life or after death,” so it’s better that we stick with his take on music. In twentieth-century America, ragtime, jazz, rock, and later punk and rap, all bristled against the accepted music of their times. Although the earliest indictments of these genres were aimed primarily at the music itself, it was not really until the 1950s that songs were being banned for their lyrical content. This content, though, was generally regarded for its subject matter and not necessarily for the language used in expressing the ideas. This is to say that although the songs were deemed vulgar or subversive, actual profanity—or “sweary” language, if you will—was still a rare bird. However anyone swore in real life, cussing, cursing, or just “potty-mouth talk” did not really begin to make its way into the recording booth until the late 1960s. Continue reading
When Stephen Sondheim was writing the lyrics for “Gee, Officer Krupke,” to be sung in the 1957 musical West Side Story, he was hoping to be the first person to use a serious four-letter obscenity in a Broadway show: “Gee, Officer Krupke—Fuck you!” This did not come to pass. Columbia records balked because obscenity laws would prohibit the recording from being shipped over state lines. In the end, the line was changed to “Krup you!”— Sondheim has since maintained that it may be the best lyric line in the show. Is there any doubt what the lyric would be if it were written today? In the fifty-plus years since West Side Story, the expletive is not only fully accepted in the theater, but roundly applauded. Continue reading
As much as the youthful Norman Mailer may have enjoyed inflating his self-image by inundating friend and foe with a superheated geyser of “fucks,” his favorite word wasn’t acceptable for the printed page in 1948. The disgruntled (read “pissed-off”) Mailer was forced to substitute the word “fug” for “fuck” in his gritty war novel The Naked and the Dead. The story goes that this prompted the waggish starlet Tallulah Bankhead to say upon first meeting Mailer, “So you’re the young man who can’t spell fuck.” If Mailer never wanted to see—or say—another “fug” in his life, there was a counter-culture rock group that thought the euphemism was the ideal name to have to “stick it to” the establishment of the 1960s.
Enter The Fugs. Continue reading
Is April really the cruelest month? Not when you can divert yourself with sweary news, tweets, and music.