Monday, July 21, 2008

Breaking the Bonds of the Western Hegemonic Sex-Music Tyranny (with Foreword by Gore Vidal)

Why is it in popular culturebe it a part of film, television, or theatre—the spitty wah-wah of the saxophone is invariably employed for all things sex? My best guess's it all traces to the beginnings of burlesque houses and some jazz musician going, "Now, have I got the sound for bouncing breasts!" *Wh-wh-wh-whaaa whaaaaaa*

But why the saxophone? Why has the saxophone become the sexophone? Any one of that hypothetical (and pioneering) jazz quartet coulda chimed in: What about the flautist, for crying out loud? *Wh-wh-wh-wheee wheeeeee*

I don't know about you, but when I hear flute, I get horny. Period.

Seriously, though—and why I'm being serious about this, there's no reasonwhy not drums? Primal, guttural, earthy drums. Yeah, pumping, bumping, thump-thump-thumping drums. Why not? They get bushmen going, don't they? You don't see a Tanzanian tribesman reach for his saxophone when things're warming up: "Hold up, Adimu—before your top comes off... I got me some notes to honk, first-things-first." *Wh-wh-wh-whaaa whaaaaaa*

Anyway, seeing as there's no chance of an entire culture bending on its sextrumental orientation, there'll always be us abnormal fetishists turning up the heat with every thwack of the Jew's harp, seductive strum of the banjo, and gentle caress of the Stylophone.

Take that, hegemonic sex-music tyranny.

Yeah, I said it.

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