Carleton University Render Volume 8 Generation Loss: Bootlegs, Dubs, and Other Labours of Love Madeline Bogoch Art History, Concordia University, Montréal, Canada Abstract In his evocative essay Embedded Memories, Will Straw claims “the videocassette contains textual forms that are the expressive residues of more broadly-based cultural knowledges and aesthetic languages.” If, as Straw asserts, media is a vehicle of aesthetic languages, then how is its circulation leveraged semantically? In this paper, I pursue this question through two very different works which, on their own terms, provide insight into the prolific collisions that can occur between “format and feeling.” The first of these case studies is the Todd Haynes film Superstar: The Karen Carpenter Story (1988), a pseudo- biopic which has thrived as a bootleg commodity since its removal from circulation, sustaining material degradation with each successive dub. The second is artist Daniel Barrow’s Winnipeg Babysitter: An Incomplete, Local History of 1980s Public Access Television (2009), an archival-performance piece which assembles fragments of Winnipeg’s golden age of public access broadcasting. Although in different ways, both of these moving image works are inextricably tied up in the afterlife of the footage itself, and the potency embedded in the material inscriptions their unique histories have written onto the media. Tracing the effects of these material inflections, this project considers how the aesthetics of obsolescence contribute to a reading of both works. Keywords: Analog, VHS, bootlegs, nostalgia, Public Access Television, Canadian history, digital humanities, memory Introduction upstairs and threw it on. The contents turned out to be a meticulously assembled collage of veteran Years ago, in the dingy laundry room of an MuchMusic VJ Erica Ehm, montaged into an apartment building I was living in, I stumbled impressive supercut. The shabby origins of the upon an unmarked VHS cassette. I must have felt tape exuded the coveted and fast-fading routes of emboldened by curiosity, which won out against circulation, which compounded its value in my any conflicting hesitations, because I took the tape eyes (this was 2008 and digital platforms were still 1 © Render, Carleton University Carleton University Render Volume 8 in their infancy). In his evocative essay Embedded collective memory. Through an entirely different Memories, Will Straw claims “the videocassette register, artist Daniel Barrow taps into these contains textual forms that are the expressive connections in his found footage project Winnipeg residues of more broadly-based cultural Babysitter: An Incomplete, Local History of 1980s knowledges and aesthetic languages.”1 As such, Public Access Television (2009). the Ehm tape is a perfect storm of video culture, vernacular expression, and 80s Canadian The intentions behind these works are very televisuality. The “expressive residues” that different, as is my relationship and approach to surrounded it were of a culture that I had only each of them, however they both encapsulate the known in the form of taped content, but that was potential of ephemeral media fragments to act as conductors into the present of bygone cultural legible to me despite this generational gap. I felt a 3 doubled sense of nostalgia— first, for a spectral climates. Interwoven between the form and history that was readable to me but not mine, and content of both these works is an essence of second, for the materiality of media—as the shift nostalgia for the golden age of local access to towards digitality was already in motion and broadcasting, for more authentic channels of would preclude similar future encounters. If, as transmission, for childhood, and even for an Straw asserts, media is a vehicle of aesthetic imagined wholesomeness evoked in the music of languages, then how is its circulation leveraged the Carpenters. semantically? The Karen Carpenter Story (1988) I’m pursuing this question through two The excessive nature of the aura which very different works which, on their own terms, occasionally surpasses the object in question is provide insight into the prolific collisions that can exemplified in Superstar.4 Karen Carpenter herself occur between “format and feeling.”2 has also gained post-mortem status as a cult icon Todd Haynes’ film Superstar: The Karen and tragic figure. Despite its reputation for Carpenter Story (1988) is mythologized for its irreverence, Superstar is actually quite earnest. retreat underground after encountering legal The project began at Bard College, where both troubles in its initial legitimate run. In the years Haynes and collaborator Cynthia Schneider since, the film has acquired something of a cult attended, both were fans of Karen Carpenter, who had recently passed away from complications of status, attributable in part to Haynes’ innovative 5 use of dolls as actors, not to mention its rarity and anorexia nervosa at 32 years old. Haynes illegality. The film’s legacy offers a compelling describes his affection for The Carpenter’s music illustration of the cumulative sensorial weight of as emblematic of the myth of American normalcy, circulation as a reflection of personal and a mixture of “fakeness and fantasy” which reminded him of his Southern California 1 Will Straw, “Embedded Memories,” in Residual Media, ed. Charles Acland (Minneapolis: University of Minnesota Press, 2007), 7. 2 Andrew Burke, Hinterland Remixed: Media and Memory in the Canadian 1970s (Montreal: McGill-Queens Press, 2019), 116. 3 Burke, Hinterland Remixed, 36. 4 I use aura in a quasi-Benjaminesque sense here to refer to the heightened lore that accumulates around people and objects whose reputations precede and exceed themselves. 5 Glyn Davis, Superstar: The Karen Carpenter Story (London: Wallflower Press, 2008), 11. 2 © Render, Carleton University Carleton University Render Volume 8 upbringing.6 This is possibly the reason why that something dark lingers beyond the milquetoast Haynes chose to use Barbies in the place of actors, veneer.10 the dolls channeling the impossible standards of femininity that shades Karen’s story. The film Like many young women I have long been borrows generously from a variety of genres (PSA, drawn to the figure of Karen Carpenter. During my after-school specials, and biopic most experience with, and eventual hospitalization for, conspicuously) mixed into an amalgam of anorexia, I felt an exclusive claim to Karen, a pastiche.7 The familiar structure of a music biopic claim that would be constantly punctured as I is apparent, but Hayne’s breaks up the generic discovered the never-ending stream of reverence rhythm with intertexts of ‘live’ footage, which and retrospection that is directed at her. Contrary provides context and exposition.8 Talking-head to my deep-seated instinct that I and I alone had testimonials citing Karen’s influence, PSA access to the authentic Karen Carpenter, what I voiceovers describing anorexia in uncomfortably gravitated towards was the tragic aura which has clinical terms, ostensibly spontaneous street stimulated so much of the obsession surrounding interviews, and images culled from news and her. Ironically, Superstar came to occupy a similar entertainment broadcasts punctuate the dramatized space in cultural memory. After failing to obtain content. The narrative follows the ups and downs the rights to the music included in the film, Haynes of Karen’s struggle, emphasizing the compounding decided to go forward anyhow. The film was stressors of her allegedly controlling family and screened at festivals and galleries, though both perfectionist collaborator/brother Richard. Mattel and Richard Carpenter issued cease and desists, eventually causing the film to be pulled Haynes shot the film on 16mm, but from circulation, and begin its journey in the incorporates video via the found footage intertexts, “underground economy of bootleg circulation.”11 which were captured by the director by simply Since then, the film has been officially banned aiming his camera at the television. Even this from screening and distribution, though it is clear initial translation produces a certain texture in the that this suppression has prolonged the cultural film, with grainy footage of The Partridge Family shelf life of the film itself and forged its path to and beauty pageants underlining the currency that infamy. amplified suburban normalcy held (for some) in the 1970s. Flickering scanlines, which mark the In the years since its botched release, found footage excerpts, expose the intermedia Superstar has continued to circulate underground translation and pre-empt the exponential through dubbed VHS copies (the technology that generational loss the film would eventually made dubbing a home practice). Although it was undergo as a commodity bootleg.9 On a symbolic originally shot on 16mm, this migration level, the loss also reveals the mediation between foregrounds the video medium as a central site of the footage and its index, causing a rift in the the film’s history and relevance. Media scholar seamless veracity of that normalcy, and suggesting Daniel Herbert has written extensively about VHS culture, and speculates that the trend of dematerialization in media creates fetish objects 6 Ibid., 15. 7 Ibid., 43-44. 8 Ibid., 61-62 9 Generational loss refers to the diminished resolution as a result of copying tapes. 10 Lucas Hildebrand, “Grainy Days and Mondays: Superstar and Bootleg Aesthetics,” Camera Obscura 19, no. 3 (2004): 58. 11Ibid., 58. 3 © Render, Carleton University