I may be a philistine, but I can't help thinking that the casino's security cameras would eventually reveal the truth of the situation, possibly leading to some legal action against Brownstone.
Date: April 18th, 2007 12:45 PM Author: boyish charcoal macaca site
Most likely the casino would look over the recording, see that the kids won it, and use the fact that they were 17 to invalidate the win and keep the money.
Date: April 18th, 2007 1:15 PM Author: adulterous lavender sanctuary
There is an episode of full house that plays out this exact scenario. Aunt Becky leaves the slot machine for a second and while she is gone Stephanie puts a coin in and pulls the lever winning the jackpot. As she is celebrating her win Aunt Becky comes in and, because Stephanie would be too young to claim her winnings, claims the jackpot as her own. Later in the episode the Casino unveils its video evidence that it was actually Stephanie who pulled the lever and refuses to award them their prize. There is also an episode of Growing Pains where Mike goes to a casino underage and wins the jackpot. When the Casino discovers that he is underage they end up revoking his winnings.
yes but if you had gone out into IRL you may know that anyone is allowed to walk on the casino floor. Children have to cross it to get from outside to their hotel rooms.
Date: April 18th, 2007 1:46 PM Author: ivory goyim
You make a good point, but Cho's fatalism (especially in light of his most recent work) certainly signals the end of an era. Perhaps this is something all of his art pointed to, and we would be derelict in not pursuing this avenue of thought.
This exchange is, of course, a good summary of the basic positions that typically show up in this debate, but I was really posing it to :D in the hopes that he would shed some new light on the topic with a reasoned analysis.
Date: April 18th, 2007 1:49 PM Author: lake bonkers multi-billionaire
Yet the struggle with which Cho engaged himself in all his life, against "rich kids", "debauchery" and "deceitful charlatans", was never framed by Cho himself in terms that suggested that this struggle would end with the passing of any particular political order.
Date: April 18th, 2007 1:51 PM Author: Dun mad cow disease
Cho was concerned with the future only insomuch as it constituted the end of the present. Any understanding of his work must begin with this simple fact.
Date: April 18th, 2007 12:10 PM Author: histrionic scarlet den fat ankles
While I am not necessarily with those who feel that McBeef borrows too heavily from Hamlet, Brownstone has an undeniable freshness of voice that we haven't seen since Miller and O'Neil.
That may be the most poignant moment from either work, but McBeef is still clearly a better piece. Mr. Brownstone is a cardboard cutout villain as compared to the complex tapestry of richard mcbeef; at the same time, the horror and ennui is better crystallized in the singular protaganist of mcbeef than it is in the ensemble cast of brownstone.
Brownstone plays off the greek tragedies of good and evil (assuming the students are killed in the end) rather than borrowing heavily from shakespeare.
Plus the ensable cast in Brownstone really feels like one character talking to himself. There was absolutely no way to differentiate between the 3 - you could have randomly assigned their lines between them without any effect.
Date: April 18th, 2007 12:56 PM Author: blue laughsome place of business station
Of course, there's always a debate to be had as to whether the author's extratextual comments can or should affect the "meaning" of a particular work. The text is an artifact that must be examined with respect to time, place, audience, and historical context. What it "means" will inevitably vary.
It may very well be the case that Cho did not intend to convey dual metaphors, but the "meaning" of those dual metaphors may, nevertheless, be found in his work.
The fact that Cho was the author does not bestow upon him the authority to pronounce for all time what the text can and should mean.
Date: April 18th, 2007 12:19 PM Author: mentally impaired senate jew
Brownstone, IMO, is a well-executed metaphor for the effect (i.e., multiple personality disorder) caused by compartmentalizing the pain of sexual abuse.
That does make sense - They simply ignore their molestor rather than confront him and the sense that whever they do they can't get away from him, both common reacations from molested kids.
It seems pretty clear that he suffered some sort of molestation as a kid - both plays have that as a central theme.
Date: April 18th, 2007 12:27 PM Author: ivory goyim
Yes, but the child's challenging of the molester in McBeef provides us with a sense of hope that children victimized everywhere can indeed regain the respect and innocence they have lost.
Date: April 18th, 2007 12:29 PM Author: sickened cerebral scourge upon the earth
Randal Graves: Which did you like better? "Jedi" or "The Empire Strikes Back"?
Dante Hicks: "Empire".
Randal Graves: Blasphemy.
Dante Hicks: "Empire" had the better ending. I mean, Luke gets his hand cut off, finds out Vader's his father, Han gets frozen and taken away by Boba Fett. It ends on such a down note. I mean, that's what life is, a series of down endings. All "Jedi" had was a bunch of Muppets.
Date: April 18th, 2007 12:37 PM Author: Twisted tattoo
i think critics forget that no act of sexual abuse by an authority figure occurs in either mr. brownstone or richard mcbeef. rather, we are relying on the testimony of the children themselves, children who prove to be unreliable witnesses. mcbeef in particular seems to be victimized by an audience all to quick to pronounce him guilty.
Date: April 18th, 2007 12:41 PM Author: histrionic scarlet den fat ankles
A minor director in Vienna put on an "experimental" production of McBeef a few years back in which the attempted exoneration of Richard (by way of clumsy flashbacks) was not well received.
Date: April 18th, 2007 12:41 PM Author: ivory goyim
While it is true that no act of sexual abuse is forced upon the children in either play, the actions of McBeef (the eventual rape of the mother and his killing of her former husband) and Brownstone (the theft of the lottery ticket) point to the reality that neither is innocent.
Both plays set up a larger narrative of authority figures continally plundering the most helpless citizens of our society. Whether or not McBeef and Brownstone are guilty of the crimes they are charged is irrelevant to the central meaning of Cho's work.
Date: April 18th, 2007 2:20 PM Author: mentally impaired senate jew
"Whether or not McBeef and Brownstone are guilty of the crimes they are charged with is irrelevant to the central meaning of both plays."
Because of this, I think Baudrillard's concept of hyperreality might shed light on the commentary Cho was making in his dramatic work.
Assume, for the sake of argument, that neither McBeef nor Brownstone actually committed sexual assault against the protagonists of either work. Despite this, the protagonists' action is motivated by sexual assault. Sexual assault is thus a proxy for the real source of their hate of McBeef and Brownstone, and this hyperreal construction prevents them from emotionally engaging the real issues that motivate them. Thus the two plays might be taken as a critique of modern consumerist culture, where brands serve as a symbol of social status. They might even be read as a critique of XOXO culture, where Vault rankings *become* prestige, regardless of whether or not an individual lawyer is prestigious in his practice.
(It should be noted that Cho's use of the casino setting in Brownstone gives more weight to the use of Baudrillard as a tool for understanding his work, as Baudrillard uses the casino as a prime example of the hyperreal, where gamblers live in a dream world, forgetting about the *real* money they're losing when they gamble in a fantasy playground where everything is an exaggerated version of itself.)
Date: April 18th, 2007 2:30 PM Author: mentally impaired senate jew
I realize it may be considered uncouth to bring further attention to one's own scholarship, but I feel it necessary to bump so that others might further explore the relationship between semiotics and Cho studies.
Date: April 18th, 2007 4:00 PM Author: cracking telephone
Remarkably brilliant post. I don't know what to add to this, except that, as we all know, Cho was a noted scholar not only of Baudrillard, but of Baudrillard's critics. I think Cho may be intentionally using Baudrillardian symbology in an attempt to enrich our understanding of the very Baudrillardian project that we are using to examine Cho's work - this is a very complex sort of analytical recursion that is only accomplished through Cho's deft plotsmanship.
I have long said that there is the Bible, and there is Cho's canon - and that if one must be put to the scourge and karcherised from human experience, may it be the Bible.
Date: April 18th, 2007 4:12 PM Author: mentally impaired senate jew
I would be especially interested in someone exploring how Cho studies might illuminate our understanding of Irigaray's conception of the mother-daughter relationship.
Date: April 18th, 2007 4:40 PM Author: Fear-inspiring metal love of her life heaven
However, some have said that Cho was like Vonnegut in that neither man systematically studied their predecessors. Vonnegut recalled that he "couldn’t play games with [his] literary ancestors" for that reason. If that is also true for Cho, it gives his works a greater sense of authenticity. For under that scenario, his pieces would not be modern derivations of canoncial works, but rather his pieces would be more likely to be representations of some other underlying Truth that the canonical works independently captured centuries ago.
I wouldnt blame that on him though. Part of the problem is that Brownstone remains an unfinished piece (I've yet to see page 11), so I suspect many of Brownstones adaptations have strayed somewhat from Chos original intent. There is no such problem with McBeef, and thus the consistency in the productions.
Date: April 18th, 2007 12:36 PM Author: histrionic scarlet den fat ankles
Fair point. But throughout the Princeton Lectures, Cho couldn't have made his vision for the end of Brownstone more clear. I had hoped that would put and end to all the apochryphal Page 11s that turned up during the fiasco with the film rights.
Date: April 18th, 2007 12:21 PM Author: histrionic scarlet den fat ankles
I obviously don't dispute the chilling realism in McBeef, best exemplified by the eponymous stepfather's seamless transferance of his lust from child to mother. We have all, of course, lived this same circumstance, in some fashion. Thus the universal resonance of McBeef. However, you seem to be conflating accessibility, even popularity, with genius. To say that McBeef is "clearly a better piece" is simply untenable, and against the great weight of critical response.
Date: April 18th, 2007 12:32 PM Author: ivory goyim
I concur. In fact, Brownstone's call for sweeping social change due to the helplessness that grips our society clearly places it above McBeef in deserved praise. It's existential bent is critical to challenge the uncomfortable reality of alienation in America today.
Date: April 18th, 2007 12:21 PM Author: Twisted tattoo
i've come to appreciate how mr. brownstone turns its obvious debt to g'n'r on its head by devoting a substantial part of the play to reciting lyrics, and his introduction of the lottery ticket and the incarnation of mr. brownstone as a teacher to reveal the failures of both capitalism and the western eduaction system as the primary causes of drug abuse. still, i prefer the witty explorations of family dynamics of mcbeef over the pointed social critique of brownstone.
Date: April 18th, 2007 1:17 PM Author: hairraiser sable meetinghouse
This board is sick. I have never laughed as hard in my entire life than I have while reading the board's analysis of Cho's writing. You guys are assholes. But brilliant nonetheless.
Date: April 18th, 2007 12:38 PM Author: histrionic scarlet den fat ankles
You'll see the same debate played out by Cho scholars everywhere. There are McBeef people, and there are Brownstone people. Stones and Beatles, chocolate and vanilla.
Date: April 18th, 2007 12:52 PM Author: Dun mad cow disease
personally, i view them as almost a single unit. brownstone shows a two-headed protagonist engaged in dialogue intended to show the sense of helplessness and betrayal which pervade american youth, and the institional oppression which only exacerbates this feeling. thus, while there are technically two leads in brownstone, i would argue they are the same lonely, frightened person trying to find clarity in thoughts clouded by fear and stupidity.
by the time of mcbeef, the protagonist merges and with the clarity of a single protagonist comes clarity as to the ultimate target of the writer's animosity. rather than corrupt institutions like casinos or evil father-substitutes like brownstone, the ire is focussed on the parental units that created his disaffection in the first place; the enabling doting mother and the step father (a character written with remarkable ambivilance despite the overwhelming simplicity of the piece at times).
this cycle shows a young man determining who he hates (everyone, basically) and why (because parents suck). brownstone is like plato's dialogues, while mcbeef is more conventional theater based on the realizations gained in brownstone.
One niggling point that I've never been able to overcome in my extensive textual analysis of McBeef: what is the role of the archetypal "cereal bar?" I feel like this is a major hole in Cho scholarship. Intuitively, I think it lends a level of complexity that clearly separates it from Brownstone; at the same time, my inability to parse through leaves me unsure and frustrated with my (and indeed, it is a failing of the entire Cho community) inadequate grasp of the Choian mindset.
Date: April 18th, 2007 1:07 PM Author: Dun mad cow disease
it's a reflection of the protagonist's attempts to enter adulthood despite his obsession with childhood traumas. he's eating a child's food (rice krispies) in a packaged, manufactured, and accordingly "adult" fashion.
Date: April 18th, 2007 1:07 PM Author: ivory goyim
I understand your frustration. At first I was leaning towards the bar as the universal phallus, but I rejected that interpretation as too simplistic (not to mention lazy).
Date: April 18th, 2007 4:50 PM Author: Kink-friendly parlour
It also overlooks the obvious connection to the "brownstone joke." Food and feces play a prominent role in Cho's work, but remain his most mysterious motif.
i explained this in another thread. the cereal bar is banana flavored and thus phallic imagery that represents the sexualization of his assault on McBeef.
But like Sweep the leg, I'm of the camp that thinks mcbeef is the victim in this story.
I'm of the same mindset as sarcaschtick here. Of course I read the well-known article by Richardson et al in Harper's, but I think resolving the Bar in terms of phallism is lazy scholarship and, to be frank, wholly inconsistent with the dense and multilayered symbolism that Cho typically employs. I consider the matter unresolved.
I'm sure you dont like the alternative, simian, explanation of the banana bar either. But both point to the direction ignored by the mass audience--McBeef was a man falsely accused of two crimes and because the crimes were so heinous, he was found guilty of them without the benefit of a trial.
Its interesting that Cho chose to commit suicide right after the persecution of the Duke Lacrosse boys, and the coincidence cannot be ignored.
Date: April 18th, 2007 1:18 PM Author: Dun mad cow disease
indeed. arguably his final performance piece served as the culmination of his literary career. how many people can say they mastered playwriting, only to establish an equally laudable career in performance art later?
Date: April 18th, 2007 1:19 PM Author: ivory goyim
As I pointed out above, Cho's work in McBeef clearly illustrates the fact that the assailant's guilt (which may very well be in dispute) is irrelevant to the larger narrative in which the audience is meant to understand the play.
I think your point on the Lacrosse incident is well-taken, and it's one of the (many) reasons that Cho will continue to be studied and debated by ensuing generations. It underscores a fundamental question about literary criticism. To wit: can we really analyze any piece of art as a universe unto itself, hermetically sealed, or must we necessarily turn to a metacritical investigation of the author herself?
Cho would say no, and I think thats precisely the problem that comes from the current narrative of what McBeef "means." While Cho chose to allow McBeef to remain an ambiguous character, he had no qualms about the experimental production in Austria, and even lauded the director for taking the play out of its popular understanding.
Date: April 18th, 2007 1:38 PM Author: Dun mad cow disease
i cannot reconcile Cho's final performance piece with this line of reasoning. earlier in Cho's career he certainly embraced any productions of his work (bear in mind that he was critically respected though relatively unknown at this point).
but the audacity and courage of his final performance seems to indicate a man who was prepared for his life and his work to be considered together. indeed, his later work was designed specifically to encourage a dissection of his thoughts and feelings.
in light of that statement, i doubt Cho would really expect (much less desire) critics to consider his work in a vacuum.
NO no no I agree with you. Cho clearly wanted his pieces explored from all angles and I think that included his personal life and later performance art.
I suspect his own personal history will be rich with what we later understood to be "ephemeral ruminations." Towards the end of his life he asked us to reevaulate our interpretations of his works, and was consistently rebuked. I suspect he believed in his cause enough to martyr himself.
Date: April 18th, 2007 1:52 PM Author: Dun mad cow disease
stated this way, i must admit the idea has some merit. perhaps his final message to humanity was that he was much more of a realist than the academy ever gave him credit for.
Date: April 18th, 2007 1:55 PM Author: ivory goyim
Great artists are not restricted to one venue to facilitate social change. Indeed, they are able to make their presence felt through a variety of sources, whether they be words or actions. Perhaps he felt it necessary to make his most poignant statement in a manner that would not merely shock us, but reevaluate his life's work accordingly.
I will concede, however, that this type of blunt instrument is not usually present in his earlier work.
Date: April 18th, 2007 1:39 PM Author: ivory goyim
As this thread is dedicated mostly to Brownstone vs McBeef as literary works, I will not deign to follow you down this avenue of thought - even though I disagree vigorously with Cho's characterization of his own work. It is an interesting discussion, however, and perhaps we should continue it on another panel.
Date: April 18th, 2007 1:12 PM Author: Dun mad cow disease
perhaps, but don't think anyone is let off the hook in mcbeef. mcbeef isn't lilly white, the child is pyschotic, and the mother is a delusional enabler of her son's sickness.
that's what makes it a superior work to brownstone.
Date: April 18th, 2007 1:35 PM Author: Twisted tattoo
i'm hesitant to accept the easy phallic symbolism, but i think it's apt. why does mcbeef react with such revulsion when the cereal bar is thrust into his mouth? perhaps mcbeef did in fact have pedophillic inclinations (the famous "him hand on John's lap" direction). the presence of the cereal bar is a constant reminder of the sexual temptation posed by the young boy, and when john symbolically presents his cock and balls in the car mcbeef is forced to face the horror of his desires.
I would buy into this theory more easily if it were a one-time expression of phallic symbolism; I could see Cho making a conscious choice to utilize an accessible metaphor so as not to belabor the comparison and bog down the narrative. But here, the Bar has a ubiquitous presence throughout the work. Could it really be so cut and dry? My understanding of Cho tells me that he merely WANTS the audience to take the low-hanging fruit, thereby separating the opening night dilettantes from the real consumers of Choian philosophy.
Date: April 18th, 2007 1:41 PM Author: ivory goyim
This is strong analysis. Those who have studied Cho's work understand that his symbolism goes much deeper and further (if you pardon the double entendre) than mere Freudian throwaways.
Date: April 18th, 2007 1:46 PM Author: lake bonkers multi-billionaire
Yet it seems doubtful that Cho would have consciously, at least, entertained such notions of McBeef performances as items whose value could be placed on discrete tiers. It was Cho, after all, who stayed throughout his life an unfailing advocate of popular artists such as Led Zeppelin, Nirvana, and Collective Soul, a brave advocacy that led to scorn from the cultural elites who would ostensibly be the audience for such a flagrantly discriminatory level of meaning in the cereal bar symbol.
Date: April 18th, 2007 2:03 PM Author: Twisted tattoo
i believe one of the beauties of choian sybmolism is its surface simplicity. cho doesn't want the audience to waste time unlocking the symbols, but rather to explore how they interact and inform the new reality his narrative creates. see his "spanky" and "jelly" relationship for another example.
Date: April 18th, 2007 3:07 PM Author: histrionic scarlet den fat ankles
No doubt the inevitable Cho-themed symposia that will arise in the coming weeks and months will finally give some definition to the more vexing Choian quandaries that have persistently confounded scholars in the field. Among the congnescenti, there has of course always been a plethora of diverse "takes" on the familiar McBeefian propositions. Yet each such perspective has been tidly kept under an ultimately "scholarly" paradigm. Now, with his career puncutated so publicly, perhaps a wider audience will provide contributions heretofore lacking.
A caveat, though: With popularization and permeation into middle- and low-brow strata, the Cho canon effectively "leaves the nest" of the intelligentsia, where maxims prescribing the "death of the author" and the unattainability of authorial intent are now more than just a metaphor. A mass-marketed Richard McBeef, connected with the face of Hollywood's "hunk du'jour," will engender a predictable disquiet among Cho scholars. Without Cho's famously spare and reclusive voice to interject even the cryptic objections that have subtly denounced not a few wayward scholars who dared venture beyond the boundaries of the Choian Zeitgiest, it is the "market" -- untamed and brutal in its candor -- that will determine, for instance, Mr. Brownstone's place in popular iconography. But such is the sparsely traveled yet definite path of genius.
Date: April 18th, 2007 2:47 PM Author: Spectacular idea he suggested lay
I respect the analysis of the above scholars who rejected the reading of the banana cereal bar as phallus in Cho's work, and I agree that the interpretation is "low hanging fruit" not typical in Choian dramaturgy. However, I disagree that the interpretation is irrelevant. I argue that Cho was counting on that initial interpretation in order to make a more challenging statement.
I read the banana flavor of the cereal bar as a reference to a more primate, animal heritage much broader than simple phallic psychosexualization. Indeed, what is the boy in McBeef but an embodiment of the Freudian id? Impulsive; physical; a thin layer of constantly shifting "rational" justifications dressing up a primal, singularly-focused hunger (e.g., "JOHN: I hate him. Must kill Dick. Dick must die. Kill Dick." -Richard McBeef). It is as though the banana cereal bar is a totem of humanity's animal heritage. Observe that mere physical contact with it is all it takes to awaken that ancient, decivilizing urge in the work's characters: John is at his most physical when holding the bar; Dick's contact with the bar, however involuntary, yields similar result.
The initial and obvious interpretation of the bar as mere phallic sexuality seems to be bait that the author counted on readers taking. In light of animal reanalysis above, perhaps he did this in order to make a distinct point regarding the inability of psychosexual interpretation to completely account for the the full pressures of his characters' primal heritage and the constant tension between our civilizing tendency and our decivilizing urges. The fact that McBeef was able to have that instinct involuntarily awakened in him seems to ask the reader whether he, himself, has a "banana cereal bar," so to speak- and whether he would even know if he did.
Agreed. Although I may not fully concur in his analysis, I cannot help but respect the obvious critical thought and breadth of experience that went into it.
Oh now youre impressed by what i referred to as the simian explanation for the banana bar? I can't help but think you may be one of those readers who has only in the past few days jumped on the Cho-wagen.
My Cho-credentials are impeccable, pretender. I understand that from your vantage point in the Cho academy it is difficult to contemplate how two scholars might disagree in principle, but nonetheless have admiration for the erudition with which the dissenting party approaches her craft. With time and experience, hopefully you will have a richer and more subtle understanding of the Cho landscape.
Date: April 18th, 2007 4:18 PM Author: Spectacular idea he suggested lay
Civil discourse, friend. He is clearly a scholar of note, and has indicated no inconsistency.
I should note that I believe the label "simian" as regards this line of critical scholarship to be an unfairly oversimplified characterization. I agree that pure simian interpretation of Cho's work is a dead end (see Hartford's excellent "On the Death of the Simian Narrative", Harper Row, 1981), but my analysis is clearly not pure simian interpretation of his symbology.
You'll notice some of his responses are delayed to see how others will first react. He has appeared time and again on the modern lit fan boards and Cho-net (whose subscription base more than tripled in the last day) today and offers nothing of substance.
I suppose we should expect this. With Cho's final work came notoriety and with notoriety come hangers-on.
The delay is because I am a Cho TEACHER every bit as much as a Cho SCHOLAR, and I must attend to my students. The Cho space is a living field that demands nurturing from new young minds!
Date: April 18th, 2007 3:18 PM Author: ivory goyim
Your analysis is indeed compelling. While I still reject the view of the bar as a mere phallic object, slightly modifying the symbolism to include a more primal fight between man and civilization would expand our views of McBeef considerably.
If this is the case, then McBeef is a much larger social critique then we initially anticipated. For within us all there is the conflict with our id. John's attempts to combat the evil he sees oppressing him alongside his attempts to combat the evil he sees in him portray the nature of humanity over the past 10,000 years.
Date: April 18th, 2007 3:46 PM Author: Twisted tattoo
groundbreaking analysis.
i would also note cho's choice of a cereal bar, itself a commoditized simulacrum of participation in a nourishing breakfast ritual, to represent that animal heritage. as the breakfast bar can never be "real breakfast", the play is restricted to the sybmolic real by its modes of signification, suggesting cho has grown weary of traditional theater and hinting at the direction of his later work.
Date: April 18th, 2007 6:04 PM Author: Spectacular idea he suggested lay
This is an important insight. The banana cereal bar is not a banana- it is an item of manufacture, an imitation produced by society. Perhaps Cho is cynically observing that culture's phony approximations that appeal to the natural state can never appease our hunger for it.
Date: April 18th, 2007 1:40 PM Author: lake bonkers multi-billionaire
I believe this poem from Nikki Giovanni, an underlooked poet who had the grace to move from Cho's teacher to his protege, has been ignored in recent discussions. It bears interesting resemblances to the core themes enunciated in McBeef, Brownstone, and various apocryphal texts associated with the Cho school.
Text below:
"We are Virginia Tech.
We are sad today, and we will be sad for quite a while. We are not moving on, we are embracing our mourning.
We are Virginia Tech.
We are strong enough to stand tall tearlessly, we are brave enough to bend to cry, and we are sad enough to know that we must laugh again.
We are Virginia Tech.
We do not understand this tragedy. We know we did nothing to deserve it, but neither does a child in Africa dying of AIDS, neither do the invisible children walking the night away to avoid being captured by the rogue army, neither does the baby elephant watching his community being devestated for ivory, neither does the Mexican child looking for fresh water, neither does the Appalachian infant killed in the middle of the night in his crib in the home his father built with his own hands being run over by a boulder because the land was destabilized. No one deserves a tragedy.
We are Virginia Tech.
The Hokie Nation embraces our own and reaches out with open heart and hands to those who offer their hearts and minds. We are strong, and brave, and innocent, and unafraid. We are better than we think we are and not quite what we want to be. We are alive to the imaginations and the possibilities. We will continue to invent the future through our blood and tears and through all our sadness.
Date: April 18th, 2007 1:46 PM Author: Dun mad cow disease
but that is why giovanni will be remembered as the pupil rather than the teacher.
where giovanni sees absolutes ("we ARE virginia tech") Cho was able to perceive the subtle gradations of identity and the numerous psychological, spritual, and physical features and habits that comprise personhood.
Date: April 18th, 2007 1:55 PM Author: lake bonkers multi-billionaire
Absolutely.
Another oft-used example of the difference between Cho and Cho-ian writing is the inability of authors like Giovanni, in turns of phrase such as "We will prevail. We will prevail. We will prevail," to reach the pure catharsis of Cho, as evidenced, of course in his now oft-parodied "You won't get away with this, Brownstone! You old muthafucker! Muthafucker! Muthafucker!"
Date: April 18th, 2007 3:13 PM Author: histrionic scarlet den fat ankles
I won't cover familiar ground and fully recite Cho's well-documented responses to similar renderings, except to recall his famous quip upon viewing the Fresno Opera Company's ill-fated production of McBeef: "Superb . . . but for the singing."
I think we will miss that sardonic wit a lot more than we can know right now, while the grieving is so raw, the loss so unfathomable. Can it really be that the wellspring of Richard McBeef has been forever silenced? I, for one, am woe.
By the way, I count myself squarely among those who regard the so-called "shooting incident" as being properly within his canon of works, an equal to McBeef or Brownstone, moreover. Too, though much is made of the "loss of life," surely the expansion of our collective artistic boundaries more than compensates, and then some. That Virginia Tech is not highly ranked only further tips the balance of any utilitarian calculus in favor of art. Remarkably, philistine parents who have "lost a child" pay this no heed whatsoever, and are content to sob and blather over their departed mediocrity -- with nary a word of praise for Cho himself! Frankly, I am saddened only when I hear the many unconscionable calls to the effect that Cho ought to have been silenced, compelled to remove himself from the environment in which he prospered. Would that such a cabal had succeeded, now and forever past, and we wuld be without the works of others -- Milton, Cervantes, Issac Newton -- deemed "weird" or "frightening" by pedestrian sensibilities.
Let's be clear: This was not, as some have suggested, an impulsive instance of fatuous "performance art" but rather the first iteration of whatever resides on the other side of "post-modern." As the trivial personages ("Hokies"?!? Please.)) who were necessarily sacrified fade from memory, and as we see the last of banal "memorial services" in which a laughably bourgeois notion of "killing" and "tragedy" disturb those of us with higher sensibilities, it will become all too apparent that the price of experiencing the genius of Cho is the punishing loss of Cho.
Few can say that they walked the Earth contemporaneous with God's hand-chosen exemplar of the human species. Well, we did. We lived when Cho lived; and a part of our vitality and artistic urge has died with him,
Date: April 18th, 2007 3:54 PM Author: histrionic scarlet den fat ankles
Until, that is, some obtuse "dean" or jealous creative writing instructor spots an historic talent such as Cho's and tries to silence it by invoking idiocy about "safety."
Date: April 18th, 2007 3:04 PM Author: Soul-stirring stage
The portrayal of the mother as a some sort of Victorian matriarch is as compelling as it is controversial. There is a great deal of evidence suggesting that Cho saw the mother as a Korean drycleaner, and not a well to do Brit from last century. That having been said, this portrayal reinforces the the female as an oppressive force which consistently rejects.
Date: April 18th, 2007 3:17 PM Author: Soul-stirring stage
enablers, and also unprincipled providers of sexual favor. note the ease with which the mother transitions from violence to sex and then disappears entirely.
Date: April 18th, 2007 3:21 PM Author: ivory goyim
But does she actually disappear? Although she does not play another major role in the telling of the story, her sudden sexual satisfaction of McBeef certainly helps provide the impetus for the fatal ending.
Date: April 18th, 2007 3:32 PM Author: Soul-stirring stage
Hmmm, being empowered by the mother's sexual embrace allowed McBeef to re-assert himself as the new dominant male of the house, eventually leading to the death of John? Compelling.
Date: April 18th, 2007 3:19 PM Author: Dun mad cow disease
this reminds me of the infamous debate between Cho and Tony Kushner where Kushner (in typically condescending style) derided Cho's tendency towards "the same over-simplification of complex issues that damned much of Hemingway's catalogue to the trash bins of serious literary criticism."
To which Cho responded "SHUT THE FUCK UP MOTHER FUCKER I WILL MOTHER FUCKING KILL YOU."
Date: April 18th, 2007 3:24 PM Author: Dun mad cow disease
I was at the afterparty where dozens of angry Cho fans stormed into the rare books room, burning copies of "Homebody/Kabul" in effigy while they munch on cereal bars. Kushner escaped alive, but only because he'd been in the bathroom having sex with a young RA he'd met beforehand and snuck out a window.
To this day, Kushner says he'll never set foot on the campus of Brown again.
Date: April 18th, 2007 3:22 PM Author: cracking telephone
Gore Vidal claimed that he once seduced the young male escort of a certain Queen Beatrix with nothing more than a crisp Shiraz and a handful of lines from McBeef.
Date: April 18th, 2007 4:32 PM Author: Jet Aphrodisiac Windowlicker Main People
It is my contention that McBeef represents the adult male libido while John represents the oedipal desires of pre-pubescent boy. The final deadly blow represents a libidinal shift from boy-to-mother to man-to-woman. The play as a whole is an allegory for male sexual development during puberty. Additionally, the cereal bar is indeed a phallic representation, and in giving McBeef the phallus, we have a further example of the transference of control of the phallus to the fully-formed libido.
Date: April 18th, 2007 6:46 PM Author: saffron excitant messiness
I must question your sexual paradigm. McBeef, rather than representing the adult male libido represents the emasculation of men in a feminized society, as is the contention of Harvard's Mansfield. John, far from being a pre-pubescent boy has come into his own as a virile teenager, embraced by both mother and father in a latently sexual manner in a hypersexualized society that views children as little more than commodities, used for sexual pleasure. The cereal bar shows the final blow of the aging former NFLer McBeef's humiliation to post-modern conceptions of sexuality, the striking back representing an ultimately empty and futile attempt to reclaim a by now lost construction of masculinity.
Date: April 18th, 2007 4:50 PM Author: Fear-inspiring metal love of her life heaven
It seems we have largely neglected to examine the religious dimensions of McBeef. As you surely know, the cereal bar was banana-like in flavor. And scholars of social networking and user-generated video sites have known for some time that bananas are an atheist's worst nightmare. While we cannot be sure whether Cho was familiar with the work Ray Comfort and Kirk Cameron, as a Korean, Cho was probably acquainted with several Christians who would have been well versed in the Comfort-Kirk Thesis. What this means vis-a-vis McBeef is unclear at this point, but we would do well to integrate the religious significance of bananas upon further analyses of Cho's works.
Breaking insight. I can't help but wonder if there aren't some sexualized Priest metaphors in McBeef. Cho after all lived in the 90s and 2000s like the rest of us.
Date: April 18th, 2007 5:03 PM Author: ivory goyim
At this point, I'm confused - I was partial to the observations that the banana metaphor may be a blow to atheists, but here we have Cho railing against the sexual perversions within the Catholic faith. I will defer to the wisdom of a greater scholar to sort out this thorny issue.
Date: April 18th, 2007 5:23 PM Author: Fear-inspiring metal love of her life heaven
It seems the Cho -- through John -- is denouncing the logic and practice of theists. By eating the banana flavored bar, perhaps he is demonstrating that it is not his worst nightmare and that he is not afraid of their supposed logic. Indeed, he orally pulverizes their claims. His references to priets strike at the practice of religion.
Well he turns the worst nightmare back on the priest. Its something you'll typically find with Cho, the transfer of victiminazation. whos worst nightmare is this banana now, dear reader?
Date: April 18th, 2007 5:27 PM Author: Dun mad cow disease
You're missing a huge point here. Cho's work thrives precisely because of the profound ambivalence that pervades it! Cho lives in the grey area between love and hate, religiosity and humanism, peace and violence, calm and fury.
Date: April 18th, 2007 5:50 PM Author: Kink-friendly parlour
No, no, no.
Despite the prima facie plausability of this account, it does not square well with the "food and feces" leightmotif that pervades Cho's work. The cereal bar is not a phallus, nor is it a religious symbol (unless very broadly construed); rather, it is the foil of the "brownstone" joke in Mr. Brownstone, if not Mr. Brownstone himself.
Unfortunately, this powerful parallel has been largely ignored by most commentators. Simple and sophmoric "phallus" explications pervade the extant literature.
Date: April 18th, 2007 5:24 PM Author: Twisted tattoo
breaking: the media has confirmed the existence of some late-period cho texts. long the subject of rumour and speculation, a copy of "the book of cho," as it has come to be known, surfaced at the offices of nbc news today.
dude, as fucked up as this thread really is, I have to say that this is am amazing example of xoxo at its collective best. Those who say that "xoxo is a TTT in decline" and lament for the old days are damn fools.
Date: April 18th, 2007 5:44 PM Author: histrionic scarlet den fat ankles
Not surprisingly, the news coverage is completely biased. On CNN, as just one example, EVERYTHING about Cho is negative. They, and others, have completely demonized him.
As I mentioned above, his final piece lampoons the media and their shark-like focus on narratives without facts. They either 1) dont get it or 2) have an incentive not to report on this angle
Date: April 18th, 2007 7:49 PM Author: contagious corner
I just read this entire thread, and all of your insights into the Cho cannon. While most of these theories have been thrown around for years by Choian scholars, I am happy to see many original ideas about his works. I can only hope that with the addition of these fabeled new late-Choian works to the Cho Portfolio (created either before or during he planned his final, unnamed, performance art) some of these answers, including the author's motives (even if you don't believe they matter) will start to come out. Maybe we can even be so lucky as to be granted another play. Doubtlessly, new material would grant us further insight into all of his works. I am hoping for the long sought-after (and often times dismissed as legend) "Monroe and Lennon"
Date: April 18th, 2007 7:59 PM Author: purple hyperactive house
Fellow Scholars,
Forgive me if I missed something in last night's reading, but I find it surprising that no one has discussed the following quote from Brownstone:
"We'll BEEF up our security."
To me this is a clear indication that all three of Cho's works, Richard McBeef, Mr. Brownstone, and his performance art, are meant to be read together.
It's obvious that Brownstone references McBeef, but what's compelling is that Cho's performance art referenced Brownstone. How? By showing that just as the casino had failed to beef up its security, Virginia Tech failed to beef up its own security. Indeed, even the layman are asking "Why didn't Virginia Tech beef up its security earlier?" Thus Cho's messages, though complex, were written so as to be understood by even the plebians.
Date: April 18th, 2007 8:09 PM Author: exhilarant abode
I also noticed this, however I think it is of paltry significance. I believe we've painted a picture of the author as one to resist such obvious devices. Doubtless that the pedantic and the jejune would seize upon the apparent signficance of this commonality, but to suggest that it had been inserted into the text as a thematic pointer to the reader I think is inconsistent with the hitherto demonstrated complexity of the Choian mind. I would submit that it is more likely a simple easter egg for the pop reader.
Date: April 18th, 2007 8:34 PM Author: Dun mad cow disease
trying to reduce Cho to racial stereotypes really does a disservice to the breadth of his vision. Cho imagines a world where race is all but meaningless; there are motherfuckers, there are catholic priests, women are whores, the decadent nouveau riche...but nowhere do you find discussions of race.
it was suggested at a recent panel i attended the Cho's lack of racial dialogue indicated antipathy to such discussions, and that accordingly Cho was a post-racialist. i think the term too cute by half, but the point bears some note.
While I championed this discourse above, I have now grown more than a touch tepid in my adoration. While it is certainly a robust and driven investigation into the works of Mr. Cho, it is ultimately so hopelessly adrift in an anachronistic sea of New Criticism and that which barely surpasses "the modern" as to make it ultimately du passé.
The discourse here fails to even recognize, even in a flippant self-referential manner, the extent to which Cho's critics are steeped in a certain neo-phallologocentrism in which the male dominated discourse does not dominate over that of the female, but operates to its complete exclusion. Control-F "Sue" on this thread, absent a few instances of "issue" it will go unfound. Yet it is Sue who is ultimately driving the action in this piece. It was for want of her love that McBeef slain John's father. Both John and McBeef are reliant on her acceptance to maintain their current places in the power structure of the home (and while this may be a sad archetype of the woman as master of the home and no more, she is a master none the less). She is empowered as symbol, but not as symbolized. This point, needless to say, but scratches the surface. For this thread to have gone to 150 post without a single reference to Feminist theory, Marxist theory, Post-Colonialism or Queer theory is clearly an indictment on the nature of this boards readership and sad commentary on the Cho scholars of tomorrow.
Date: April 19th, 2007 12:30 AM Author: Dun mad cow disease
Cho was always fascinated by Wittengenstein. Methinks he is trying to make a point about numbers that he often touched upon in his other works. Just as his plays show us that many terms, like "guilt" for example, have no meaning but that which we give it. Here, Cho playfully points out that numbers are not so dissimilar.
Cho recognized that the system was inherently flawed but was capable of correcting the actions of others to maintain its hegemony. Rather than returning the envelope to sender and exposing itself as helpless, the system simply adjusts to the outside foibles and never admits defeat.
Date: April 18th, 2007 9:36 PM Author: mentally impaired senate jew
A heretofore overlooked facet of Cho studies is the influence Brazilian philosopher of education Paulo Freire had on the late author.
Freire's most influential work, "Pedagogy of the Oppressed," is a strident critique of the oppressive nature of Western education. The book examines two ideas: the "banking" conception of education, which he decries, and the "dialogic" conception of education, which he espouses. In "banking" education--traditional Western education--the student is nothing but a bank for knowledge that the teacher deposits in him. Banking education dehumanizes the student, reducing him to a receptacle, opening him to oppression by the de facto oligarchy controlling society. "Dialogic" education, on the other hand, emphasizes the process of conscientization, in which the teacher and student, through an active dialogue mediated by the broader world context, simultaneously learn from and educate one another. In stark contrast to banking education, dialogic education makes the student an active participant in his own learning, equipping him with the tools to throw off the yoke of oppression by enabling him to self-actualize.
With this introduction, the Freirean symbology of "Mr. Brownstone" becomes clear. Brownstone himself is obviously a staunch adherent of banking education, and the protagonists are his victims. Cho hammers this point home by making Brownstone not simply a hated teacher but also an "ass-rapist." Ass rape, for Cho, is a metaphor for banking education itself: the act of ass rape dehumanizes its victims, just as banking education dehumanizes students. The violence of ass rape and the clear inequality between victim and perpetrator are symbols of the oppressive power of banking education. And just as ass rape turns the victim into a mere receptacle of the rapist's semen, so does banking education turn the student into a mere receptacle of the knowledge the teacher imparts to him.
Our protagonists recognize their role in the banking system of education, and they wish to move beyond it to a dialogic system. One laments that he was given detention for telling a joke--a punishment possible only in a banking system, for in a dialogic system, the joke would be analyzed, picked apart, exposed to the world for the purpose of consciousness-raising. Another talks of kicking that "REAL MUTHAFUCKER," Brownstone, "down the line"--he realizes that he is being oppressed by banking education, and he wants to move on to a dialogic system that will allow him to mature as a human being. At the play's climax, our protagonists have this goal in their grasp, symbolized by the winning ticket. But Brownstone, whom one protagonist accurately describes as a "parasite," frustrates their plans for shedding the yoke of oppression by turning them in to the oligarchical casino, which always has the odds in its favor.
Date: April 20th, 2007 4:04 PM Author: razzmatazz old irish cottage sound barrier Subject: i was looking for this, im sad i had to find it here though.
Yes, killings were at a school, Brownstone and McBeef written within educational framework. So I like the pedagogy angle, though I think you are mislead by xoxohth bias against ttt's into casting cho (vt student) as victim of banking system of education.
I'd argue that Cho was in a dialogic system, but a because he was a complete psycho, what would normally be a rewarding education experience and consequent maturation was traumatic.
Cho never made the symbolic leap to language or clearly differentiated internal and external states. Cho did not speak or emote to anyone. No one knew Cho was a menace... not his shrinks, not the popo, not his roommates, not his neighbors, not his family, no one except his English teachers and classmates. It is only through his plays and poems that he uses language... and it is through those first forays that he receives most resistance.
Thats why his coursework is the only revealing key to understanding this freak & why its of interest to deconstruct the plays. Since MSNBC is not going to do it I went googling, freud + mcbeef, lacan + brownstone. Seriously. And here I am, in the virtual trainwreck named autoadmit.
What are you like? Y'all are like an online Stanford Prison Experiment. Especially with xoxohth admin producing papers about you. My prediction: communally you will keep goading each individual into topping the last barely legal crimes... until you stop yourselves, or more likely, someone else puts a stop to it.
Date: April 18th, 2007 11:23 PM Author: purple hyperactive house
Dear Scholars,
What do you make of the recent suggestions that Cho modeled his work after a South Korean movie named "Oldboy?" Whoever made such a statement clearly does not know the difference between imitation and parody.
Date: April 19th, 2007 12:10 AM Author: Jet Aphrodisiac Windowlicker Main People
The Cho video released today again makes mention of Cho being "fucked", presumably by malevolent forces within VTech. Much like in Brownstone and McBeef, we have a central theme of the principal character being powerless to stop the "ass-raping" at the hands of an authority figure, be it the administration/faculty (Brownstone), or the Jocks (Mcbeef)- remember McBeef was an ex-football player, and a "giant tree trunk piece of ass." While the characters in the plays were never able to fight back, Cho was able to destroy his oppressors in his final work.
Date: April 19th, 2007 1:11 AM Author: contagious corner
I wish I were better versed in literary criticism to take part in it. The only class I have really ever had that would allow me to contribute at all was the UG course 008:078: "Early Works of Cho." I got a B- in it...
Date: April 19th, 2007 12:07 PM Author: Iridescent Beady-eyed Shrine People Who Are Hurt
I wouldn't be too worried. Cho Studies is a uniquely difficult field to wrap your head around at first, but once you've worked through a few of his more difficult pieces, it becomes second nature.
Date: April 19th, 2007 1:06 PM Author: histrionic scarlet den fat ankles
We had a Cho survey class that was a prerequisite for the upper-level seminar. Donaldson taught the seminar (this was before the accident, so you could actually follow him), and would focus exclusively on either McBeef or Brownstone each semester. I got an A- in Intro. to Cho, so I only made it to the waitlist -- but they did actually take a few people off the wait list, and I was in the next group of three that he'd select one from on the basis of a 500-word essay. He never called for our essays but I wrote mine anyway. It was pretty good but, as I say, I never got to use it. In high school I had a teacher who called me a "young, aspiring Cho." Pretty high praise, I don't mind saying. Do I remind you at all of Cho? Is Cho more a "guys' writer" than a "chick author"? A lot of girls seem notto like him.
Our collective eagerness to find the most convoluted among the multiplicity of meanings within the Cho corpus may have caused some of us to disregard the most fruitful, if obvious, paths of inquiry. One leitmotif in Mr. Brownstone that has received too little critical attention is the pronounced and obvious physicality of the title character. John, Joe, and Jane's preferred appellations for Mr. Brownstone include fart, leech, and parasite. All of these pet names are unpleasant indicators of the cold hard dictates of age and biology. Furthermore, John imagines Brownstone's efforts at defecation in great, gruesome, detail (a constipated Brownstone pushing, sweating, clenching his teeth and screaming as green moldy shit rips his sphincter).
These details betray, at the very least, the deep-seated ambivalence between the illusion of youthful "invulnerability" and the inevitable and mechanical rapacity of time. The protagonists' hatred for Brownstone, then, contains at least the germ of future self-hatred. The things lost by the protagonists, innocence, the promise of a better tomorrow, are familiar disappointments as life wears on. The jackpot may be conceptualized as a youthful attempt to devise an "exit strategy" to escape the throes of the inevitable, and may prefigure the later Cho performance.
Big Mac, McBeef, A Quarterpounder with some Cheese: the McDonaldsization for instant gratification from storytelling in recent productions of Chos classic.
The letters 'B' 'i' 'g' 'M' 'a' 'c' do not mean Big Mac. They are simply an agreed upon symbol that stand in for the meaning Big Mac. In the same way, the word Big Mac only has meaning in contrast to everything that is not-Big Mac. The word/sign Big Mac distinguishes what is meant by Big Mac from everything that is not-Big Mac.
Imagine a small boy from the country who has never seen McDonalds. Looking at the menu, he sees a filet o fish and shouts, "Look, mommy, a Big Mac!" "No dear," his mother answers, "that's a filet o fish." A little farther down the menu, the boy sees a double cheeseburger. Less certain, he says, "Mommy, is that a filet o fish or a Big Mac?" "No dear," she answers, and so the boy's understanding of what is meant by the word Big Mac grows.
Inferior to the better work here, but funny in parts...
"It is on page two that we are introduced to the boating accident that claimed the life of John's father; nautical disasters being a theme common in works of Cho Seung-Hui such as I Fucking Kill the Cruise Ship and Sink, Sink, Sink, Murder, Die, Die, Death Fucker (also available in Crib Notes)."
"In a way, McBeef represents the American middle-aged male: past his prime with no dreams and a tree trunk piece of ass."
Date: November 2nd, 2007 6:26 PM Author: Dun mad cow disease
i miss the days when xoxohth was compelling enough i trolled it constantly. i'm glad that i could participate in a thread like this before the board died.
Date: January 23rd, 2008 3:47 AM Author: trip rusted bbw
"I obviously don't dispute the chilling realism in McBeef, best exemplified by the eponymous stepfather's seamless transferance of his lust from child to mother. We have all, of course, lived this same circumstance, in some fashion. Thus the universal resonance of McBeef. However, you seem to be conflating accessibility, even popularity, with genius. To say that McBeef is "clearly a better piece" is simply untenable, and against the great weight of critical response."
Date: February 21st, 2008 11:12 AM Author: apoplectic sneaky criminal
It is either ironic (or predictable) (or both) that, thanks to XO and similar outfits, this misanthropic loner who no one gave a rat's ass about while he lived has attained the recognition he craved, but never received, in real life. To get attention on a grand-scale, which is obviously what he craved, he had to kill a large number of people in a macabre, gory way. And Cho is remembered far more widely than his victims (except for Librescu), I think because society is biased towards the active role taken by a Cho (and Librescu) in the affair.
I think a lot of people relate to Cho because he experienced the banal experience of growing up we all did, felt the same pain of being maladjusted and ill-equipped to deal with a sensualist, superficial, and vulgar world that we all did, but internalized it much more deeply, felt the same frustrated sexual urgings, rootlessness, and hatred but observed it all from a painful distance which only intensified it. He was playing by rules which assumed he had become a well-adjusted adult by the time he was 18, in a society where adulthood is ill-defined and where the conventions attached to it in Cho's home country (marriage, employment, respect) are not freely distributed (as they would be in Korea) but rather must be struggled for.
We all have a little bit of this sinful, heartless, taciturn, horny son of a bitch in us, which is terrifying. He craved order, dignity, and respect, values cherished in Korea but scorned in the U.S., so I bet he felt little compunction about taking out people who didn't play by the rules he felt simply have to exist.