SWPACA Post Annual Conference Report (2014)

It's February, it must be Albuquerque, New Mexico

I make a yearly trek to downtown Albuquerque, home of Route 66 and the location of a budding film community known as Tamale-wood, for the Southwest Popular/American Culture Association’s annual conference. During the day, this high desert city has a modest bustling business district and each night as darkness takes root and the streets become sparse of activity, many of the business buildings are bathed in beautiful hues of soft light, revealing why this place is known as the city of light. And centered in the Hyatt, a couple of thousand undergraduate, graduate and independent scholars assemble to discuss all things pop culture over three days each February.

In my third year as the James Bond, Espionage and Eurospy Area Chair, this year there was a marked increase in interested presenters for my area. I had 14 presenters that made up four panel sessions. Three sessions were scheduled Wednesday afternoon and the fourth was Thursday morning.

Here’s a recap of presenters and their presentation titles. All gave informative presentations that solicited intriguing Q&A sessions.  

Panel 1: Brody and Rafael

Session 1: Literary Bond

Brody Wedgeworth of Stephen F. Austin State University

“Mechanical Spies and Female Sidekicks: Ludlum's Response to Fleming's Bond”

Rafael Hernandez of University of Florida

“Secret Agency: Fanon, Algeria, and the Female Double Agent in Spy Fiction”

Panel 2: Tom and Sarah

Session 2: Gender and Identity

Tom McNeely of Vernon College

“The Feminization of M, Revisited: Gender and Authority in the Bond Films”

Sarah Kelley of University of Bristol

“For Queen and Country: James Bond and National Identity in the Daniel Craig Era”

Session 3: Audio Interpretations

Ian Dawe, Independent Scholar

“ 'Archer': A Spy Parody for the Ears”

Michele Brittany, Independent Scholar

“Spectra*Paris' Murder Show: The James Bond Rock Opera”

Panel 4: Elyn, Hannah and Nick

Session 4: Cold War Spies

Elyn Achtymichuk of University of Saskatchewan

“Women on Fire and Men Bleeding Spades: The Audio-Visual Signifiers of Masculinity in the Opening Sequence of James Bond Films”

Hannah Means-Shannon of Georgian Court University

“Super-Spies Face the Collective Shadow of the Cold War in Matt Kindt's Mind MGMT”

Nicholas Diak, Independent Scholar

“Spionagio all'italiana: Exploring Italy's Spy Film Phenomenon and Its Importance to Italian Film Canon”

Film Screening: The Quiller Memorandum (1966)

This was my second year hosting a film screening. Last year, my showing of Michel Hazanavicius’ OSS 117 Cairo Nest of Spies (2006) packed the room, so I decided to reach back into the spy vault and selected The Quiller Memorandum (1966, Michael Anderson). This spy-thriller was shot on location in Berlin and at Pinewood Studios and was based on the 1965 spy novel by Elleston Trevor titled The Berlin Memorandum. The film starred Alec Guinness, Max von Sydow (timeless!), and a young George Segal as Quiller. The score was composed by John Barry, who scored Thunderball and You Only Live Twice. The film received three BAFTA nominations for Best British Screenplay, Best British Art Direction, and Best British Film Editing.

The film meets up with Quiller, who has been assigned to assist the British secret organization stationed in Berlin where there are covert Neo Nazi fractions operating. The relationship between Quiller and his handler (Guiness) is filled with controlled animosity and nothing of the almost stern fatherly relationship Bond has with M. Much emphasis is placed on the non-descript – “could be anyone” – enemy that Quiller is trying to uncover. Along the way, Quiller continually ditches the shadow agent that is meant to protect him, but he is completely inept at losing the henchmen of the main villain (Sydow). Quiller’s spy abilities are consistently called into question: does he know what he is doing? Is he lucky, or unlucky, depending on the situation? Part of interesting part of the film is its pacing, which compliments a sense of anxiety and tension, never really crossing into an action film – it is a pot that never boils. 

Film Screening Panel: Ian, Rob, Nick, and Hannah

Given the “anti-Bond” nature of the film, I felt it was less approachable as a result, so I invited Ian Dawe, Nicholas Diak, Hannah Means-Shannon, and Robert Weiner to sit for a round table discussion at the conclusion of the showing. Each summarized their thoughts on the film, but one common theme they all agreed on was the surrealistic nature of the film. Quiller’s efficiency as a spy was another topic of conversation by the panel, and the audience.

The movie did not attract nearly the same numbers as the previous year, but I think it was a valuable film to contrast with the Bond films of the 1960s. While I do want to screen a film next year, I’m not sure what film it will be. Initially, I am interested in showing Agent Vinod (2012), but I’m concerned about the length (160 minutes). 

Since my panels were over Thursday morning, I did spend time visiting the booksellers that were set up outside of the various meeting rooms: Intellect, McFarland, and University of New Mexico Press, stand out each year. This is the time to snag books you have been wanting, but couldn’t afford since some of the presses will offer conference discounts. I was fortunate to come across a book on Brian de Palma from Intellect, which fits nicely with my research on SPECTRA*Paris.

I cannot express how very important and beneficial it is to spend time networking at these academic conferences. The open lobby area of the Hyatt was conducive for re-establishing professional friendships and making new connections. You never know what conversations you’ll end having with others. It can be a wonderful organic experience. This is in addition to presenting of course. Most of the panels are smaller, allowing 15 – 20 minutes of speaking time. Audience size varies, depending on the time of day, what other panels are going at the same time, and popularity of the subject matter. Time spent presenting is always to one’s advantage.

Thursday evening, I attended the film screening of the later silents The Man Who Laughs (1928) starring Conrad Veidt (one of my favourites!) and Mary Philbin in the German film directed by Paul Leni. Rob Weiner hosted the screening as a study of the first portrayals of a Joker character in film. What a treat to experience such films on a big screen and amongst other cinephiles. I just wish I had not been sick and suffering from intermittent bouts of laryngitis throughout the conference, otherwise I would have enjoyed participating in the discussion afterwards.

Networking and making friends Thursday night

The rest of the evening and into the wee hours of the morning was spent chatting with a fantastic group of folks and then it was on an early Friday morning flight back home. My shuttle driver was an older man dressed in leathers and from the East Coast. He was quite a character: he quizzed three very sleepy-eyed and rather incoherent pop culture scholars about Andy Warhol and Velvet Underground. While exiting, he whispered he was 72 – well, he was definitely still young at heart and I wish I could have been more engaging at 5 AM.

The conference continued through Saturday with a scheduled Breaking Bad trip for conference-goers interested in seeing the various places around Albuquerque featured in the series. I understand it was a fun time and the weather quite mild for February. I know I’ll be back next year, so if you are interested in attending a friendly, smaller pop culture conference and presenting on James Bond, spy-fi, espionage and/or Eurospy,  check back here for my call for proposals later this year.  

License to Kill (2010) from SPECTRA*Paris

Elena Alice Fossi, SPECTRA*Paris -- Agent Jane

The sound of footsteps that at first have a laissez-faire pace soon quicken with a sense of urgency before melting into the opening notes of “License to Kill” as Elena Alice Fossi takes aim and hits the mark with a popping noir electro-rock number. With lyrics, Drowning in red water / I must speak to agent Bond! / Creeping the dark path, Fossi thus begins a spy filled journey on the second album by SPECTRA*Paris. Of course Fossi is no stranger to taking lead vocals: many listeners of electronic darkwave will likely recognize her name associated with the Italian band, Kirlian Camera, founded in 1980 by Angelo Bergamini. Fossi joined Kirlian Camera in 1999 as lead singer, and in the intervening years since, she has focused on a variety of side projects.

In 2006 while Fossi was working on a third album for her side project Siderartica, she found that the direction she was exploring didn’t fit with the project. At that point, she founded SPECTRA*Paris as a “rock band filled with love for aesthetics, fun and drama! Crime, spy stories, fashion and sex at the Opera house!!!” (Original Sin Fanzine Blog Interview, May 2010). In addition, Fossi outfitted S*P with all female musicians, a rarity in the sea of all male bands that populate the industry at large. And in the following year, “Dead Models Society (Young Ladies Homicide Club)” was released through the Trisol label. In her first album, she referenced Hitchcock’s Vertigo and Carol Reed’s The Third Man, and Fossi did a cover of Tears for Fear “Mad World” from the cult film Donnie Darko. References to and blending popular culture would be a recurring theme for Fossi on her second album.

“License to Kill” started taking shape in 2009. Again, Fossi turned to cinema for inspiration and continued to explore the themes of her first album. This time she crossed Brian De Palma’s musical Phantom of the Paradise, released in 1974, with the spy genre, and who else better represents the genre than James Bond. “In a few words, charming agent 007 will have to investigate on a disquieting facts having Swann – unquestioned boss of the Death Records – as a main and surely weird character” (SPECTRA*Paris MySpace exclusive interview, July 1, 2009). She used the combination of genres, in this case opera house musical and spy, to convey the injustice and difficulties facing bands today in the music industry (Black Magazine Interview, December 2010). Fossi incorporates Swan, the villain from De Palma’s movie, and makes several references to James Bond, by name and nods to some of the Bond movies. Fossi professes to taking all of what she watches, making “a massacre of all that useless trash I’ve seen, going to select just a few frames from several movies” (PeekaBoo Interview, April 15, 2011) in order to create her own movie via her albums. 

Taking a look at the various glamour photos of the S*P band, one can readily see their homage to the spy genre. Lean, beautiful lethal bodies in high heeled leather boots and black trench coats, or much less, toting “hand” guns, these ladies represent the sexy equivalent of James Bond. Fossi admits that music isn’t her muse as much as the written and visual forms of popular culture around her (PeekaBoo Interview, April 15, 2011). However, along with the visual iconography, lyrics play an important part to the visual representation that Fossi creates. She describes her “store of thoughts and ideas is a like a TV screen whereas characters, colours and settings are taking place. That’s just the reason why I’m used to attaching great importance to lyrics, even though I couldn’t be under the illusion that I’m succeeding in expressing all that I would like in 5 minute music per song.” (Frank Bentert from Bodystyler Magazine, May 2011).

“License to Kill” is comprised of ten tracks, two of which are instrumentals, which describes the story of the conniving Death Records owner by the name of Swan. Will Swan’s empire be toppled?

Track 01 License to Kill

This track could be seen as the prelude to the entire album, setting the stage of the lies and deceit that exist. Fossi sings about looking for salvation from drowning and believes that death of another will cleanse her. She seeks out Agent Bond for help. Many references are made to murder and various weapons – gun, knife, hands, stinging needles – in this electro-rock song. The strength of the music and Fossi’s vocals lends itself to being in the company of many of the more recent Bond theme songs by contemporary pop/rock artists. Whereas Bond has his iconic gun barrel sequence, S*P has the theatre stage. As the song fades, one can almost hear the sweep of the heavy velvet curtain swooshing back as a spotlight begins to illuminate center stage.

Track 02 A Clockwork London

Fossi continues the electro-rock tempo as she dips into a darker driven beat with help of electric guitars. The theme shifts from murder to the concept of death and the disposition of one’s soul. Our singer could be dying but who would know when the stage façade is an illusion: Here no one knows me, my bloody hands / I could look as a pretty girl! Fossi says she is living for her dreams however the consequences are high. There are no references to Bond or spies in general; instead, the musical aspect, in this case the stage performance is central. It sets up the conflict that needs to be resolved.

Track 03 007 Gold

Movie samplings of a conversation between police dispatch and a patrol unit that cuts off abruptly with the line “She’s got a gun!” introduces another electro-rock song with synthpop elements that give way to more industrial sounding electric guitars. This song returns to the spy aspect of the story, setting up a relationship between spy and musical references that alternate back and forth between the tracks. Bond is referred to by film titles such as “GoldenEye” and “License to Kill” as well as the truncated title “From Russia”. The spy seems to be on a stake out while Fossi finds strength to fight: My shiva golden eye / Got fever like a fire / See people throwing dice / My shiva golden eye / And now I’m about to [shoot] him dead.

Track 04 Movie Ghouls

Returning to the theatre, the pace slows to a synthpop ballad. The lyrics become more emotional and personally symbolic for Fossi. Here tale seems to have the power to turn people to stone, or from the keys of undisclosed spells she now possesses. She has the power; our spy is nowhere to be found in this track.

Track 05 Aston Martin DBS

This is the first of two instrumentals offered by Fossi. It revs the beat back up like the passing seconds of a clock. Just as the song hits its groove, it is over. It’s only 72 seconds long, which is unfortunate since it is a sporty rhythm that is very catchy. The Bond reference is of course in the title.

Track 06 Carrie Satan

The ticking beat carries over into this darkish synthpop song. The lyrics reveal bad things are closing in on Fossi yet she believes she will prevail in spite of the hardships and criticisms that surround her.

Track 07 Death Records

Here’s where Fossi gets to the heart of the problem: Swan, as owner of Death Records, masterminds the exploitation of her musical talents and profitability. She plays with her vocals, twisting and sharpening her voice with the accompaniment of harsh determined electric guitars. At moments, her voice becomes sorrowful and soul searching in its mood. Bond appears and faces Swan as Fossi’s anger swells against Swan and his lies. On stage, the fame and fortune (for Swan anyway) is touted. There is fear in Bond’s presence but he doesn’t seem to exact justice or resolution: No suspect comes out / Just lights on the stage … Their eyes full of fear.

Track 08 Lost Highway Voices

Fossi returns to a ballad’s pace, her voice wavering and breathlessly whispering the lyrics as she realizes there is no going back, only forward. Perhaps to a better place: And words to light the creepy skies / And rain to clean sweet cheering lies / Across the beauty that remains. All her barriers have been broken, but Fossi is hopeful. Our agent appears for the last time.

Track 09 S.I.S. Soundtrack

The second instrumental accompanied by some supporting metallic sounding vocals compliment the 95 second track. It is reminiscent of Kraftwerk returning to the more electro-rock tone. The song incorporates a guitar drilling out the melody with a synthpop wailing that drives the beat along to an all too short song that seems to tease the listener towards the finale.

Track 10 Phantom Theme (Beauty and the Beast)

Fossi covers the 1974 Paul Williams song (same title) that was featured in De Palma’s movie. It is the climatic moment in which both sides – good and evil – assemble and are reconciled within Fossi herself, a new self. Resolution is unclear: Like a circus on parade / Seldom close enough to see / I wander through an angry crowd / And wonder what became of me. The original Williams song was over eight minutes long (Paul William's Phantom of the Paradise Original Soundtrack, Youtube) but Fossi chose to cover the last half of the song. The track and lyrics compliment Fossi’s vocal range and style. This may be the best song on the album to showcase her vocal prowess, and I would say, it rivals her cover of “Mad World” (a track from S*P’s first album).

“License to Kill” is a fascinating melting pot of cultural references to De Palma’s Phantom of the Paradise, James Bond and the spy genre while critcizing the nefarious dealings that plague the music business industry. The songs are edgy, chaotic and dark. The Bond references, particularly in the first track, are easily comparable with our famous British agent, while many of the other tracks limit to flirting with spy references. Visually, Fossi and her band don the secret agent persona of black trench coats or skimpy outfits of Bond girls. They even are seen poising with a red sports car in some photos. A third album was released by the group – a Christmas album in 2010 and features some of the same tracks from the second. Fossi has not indicated what’s next for the group, but hopefully, she’ll consider a fourth outing with our intrepid spy at some point in the near future.

All photos are from Kirlian Camera and SPECTRA*Paris websites.