The Nerd and the Poseur

Last time I wrote about the movies Diner (1982) and High Fidelity (2000), both of which suggest the way that the homosocial behavior of the narrowly obsessed record collector prevents him from having neither a fulfilling relationship with, nor a serious commitment to, a woman. Although I am by no means the first person to make the observation, I pointed out the way record collecting is almost exclusively a male activity, and is all about plentitude: the size of the collection is yet another form of male competition, yet another game of one-upmanship.

Since writing the previous entry, I’ve had the opportunity to read Will Straw’s article, “Sizing up Record Collections: Gender and Connoisseurship in Rock Music Culture,” which can be found in Sheila Whiteley, Ed., Sexing the Grove: Popular Music and Gender (Routledge, 1997). Straw argues there’s a difference between what he calls a “dandy” (a person who accurately mimics the dress and behavior of the musical artist but has only superficial knowledge and no deep passion for the music itself, a “poseur”) from the “nerd.” The nerd collector possesses real knowledge and real passion (if unutterable), but is unable to mime properly the correct masculine codes like the dandy, and hence exhibits the characteristic “performative social failure” of the nerd, so “blatantly indexed” by the nerd’s “unmonitored self-presentation” (p. 8). Straw observes, “Collecting is an important constituent of those male character formations, such as nerdism, which, while offering an alternative to a blatantly patriarchal masculinity, are rarely embraced as subversive challenges to it” (p. 10).

Terry Zwigoff’s movie Ghost World (2001) depicts one such nerdy record collector, named Seymour, played by Steve Buscemi (at right in the above picture). Seymour happens to come to the attention of Enid (Thora Birch, left), a recent high school graduate who exhibits a profound sense of alienation from the culture and who takes an instant liking to anyone who seems different. She finds Seymour, a solitary, unmarried man roughly twice her age, different, primarily because of his atypical musical taste. One day, Enid and her best friend Rebecca (Scarlett Johansson) happen to encounter Seymour selling records at a garage sale. He recommends to Enid the vinyl LP Country Blues Classics, Vol. 3 (an actual record in an actual series). Following his advice, perhaps because she sees the record as a strangely alluring sort of fetish object being offered to her, Enid takes the record home and listens to it. As it turns out, she is drawn to the recording by Skip James, “Devil Got My Woman” (1931)—a track that, strangely, is not actually on that particular record [!] At any rate, I think we are encouraged to believe that Enid is drawn to Seymour precisely because he is a nerd, that is, he presents what Straw describes as a subversive challenge to “patriarchal masculinity.” (Remember that Enid embraces anything different.) However, Seymour tells Enid that “loser collectors” like himself basically define themselves by filling their lives with worthless junk.

It occurred to me that Seymour—a character who is not in the film’s textual source, the graphic novel by Daniel Clowes—seems remarkably similar to the nerdy Jack Isidore character in Philip K. Dick’s great novel Confessions of a Crap Artist (written 1959, published 1975, and adapted into a French film, Confessions d’un Barjo, released in 1992). Socially inept, Isidore’s life is devoted to collecting “kipple,” useless bits and pieces of matter that rapidly multiplies as if duplicating itself overnight (the character re-appears in the 1968 novel Do Androids Dream of Electric Sheep? which, as everyone knows, was adapted into the film Blade Runner). Like the autist, Jack Isidore is fond of collecting odd and worthless minutae (autists often have improbable collections, such as old bus transfers and obscure birthdates). Indeed, I suspect most of us have known people who have collected odd items and pondered the reason why, and I am not speaking of coins, stamps, beetles, or butterflies. It is interesting that Philip K. Dick was a classical music collector, once worked in a record store, and as a young man was mocked by certain individuals for the vast number of records in his collection. In any case, later in the movie Ghost World, when Seymour admits to Enid that he is just a “dork,” she takes issue with him, saying that he is not at all a “dork,” but rather, her “hero,” perhaps because she admires the way he holds on to himself, while she herself is elusive, still forming an identity. Nevertheless, despite the fact that Enid avers Seymour is her hero, their story doesn’t end happily. By the end of the film, Enid has left town and Seymour is left only with his record collection. The film is yet another example of the way our culture represents the male record collector, a troubled, solitary individual perceived as accumulating worthless and arcane knowledge, and immersed within an incomprehensible fetishized world. Somehow, the behavior of these individuals, particularly their remorseless accumulation of records, is linked to the failed internalization of appropriate masculine codes.

The Collector

Movies such as High Fidelity (2000) explore the perils of record collecting, the way that the homosocial behavior of the obsessed collector hinders, if not actually prevents him, from enjoying the pleasurable company of a like-minded female. Around thirty years ago, when visiting the local record stores was part of my daily homosocial routine, it never occurred to me to ask why there were so few women with whom I could discuss the music I loved. Of course there were many girls around, but you didn’t talk with them about Eno, Pere Ubu, King Crimson, or the Buzzcocks, for instance. I remember falling heavily for a girl who told me she loved the Pretenders’ first album, an album that I also happened to think was tremendous (still do). It didn’t hurt matters that she was pretty, intense, and had what is colloquially referred to as “tons of personality,” but I think I fell deeply for her primarily because she loved that Pretenders record. She also happened to indulge my passion for music. One night, over a couple of Margaritas, she actually endured one of my hour-long lectures on that album’s many virtues, its precursors, and its probable historic significance. I envisioned myself a connoisseur of both rock and avant-garde rock, and after we hit it off, I thought I would introduce her to my collection, hence what serious rock music was all about—Eno, Echo and the Bunnymen, Joy Division, the Residents, some later Velvet Underground, and so on, everything important, in other words, so I invited her over to my place for a serious listen. She readily agreed. So she came over to listen to some records . . . and I thought I’d fall on the floor and die when she showed me the records she brought along with her to play for me: Pat Benatar’s In the Heat of the Night, Kate Bush’s The Kick Inside, and the Nitty Gritty Dirt Band’s An American Dream, the band’s then current hit record, and a couple others that I can no longer remember, probably due to traumatic amnesia. I was polite to her that long evening, as I endured the playing of two or three of those awful records, but the long-term effect of the evening was that she dropped in my estimation of her, because her musical taste was so bad. Our relationship was immedicably damaged that evening, and while we saw each other often for the next year or so and had some good times together—we both loved dancing to reggae, the music then having a mild resurgence in local clubs—I knew any serious romance between us was over. What a naïve, pompous fool I was.

Looking back, I think I was very much like the character Rob, the narrator of Nick Hornby’s High Fidelity (1995), the novel upon which the movie released in 2000 was based. Near the end of the novel, Rob is introduced to the CD collection of his girlfriend’s friend. The narrator is confronted with “the sort of CD collection that is so poisonously awful that it should be put in a steel case and shipped off to some Third World waste dump. They’re all there: Tina Turner, Billy Joel, Kate Bush, Pink Floyd, Simply Red, The Beatles, of course, Mike Oldfield (Tubular Bells I and II), Meat Loaf . . .” (p. 279). While I’ve mellowed somewhat since then, I perfectly well understand the sort of disdain being expressed in that passage, as that sort of attitude was mine at one point in my life. So, too, was the inability to engage in any meaningful romance with a single, available female. Predictably, there was no sting of truth, as there should have been, in the memorable scene in Diner (1982), when the Daniel Stern character rebukes his wife, played by Ellen Barkin, for misfiling one of his James Brown records. Several of my friends and I went to see that film when it was released, and while I can’t speak for the rest, I was actual siding with the Daniel Stern character in that scene rather than his poor wife: how dare she treat his filing system as capricious! How dare she put the record in the wrong place!

Record collecting, like home video collecting, is all about plentitude: the more you acquire, the bigger your collection, the more masculine you are (and we all understand the Freudian phallic symbolism implicit in that remark). Besides High Fidelity and Diner, few movies have explored the psychology of the white male collector. The only other movie besides these that I can think of that understands the fetishistic psychology behind collecting is Free Enterprise (1998), which probably owes a debt to Diner in the way it accurately depicts the homosocial activities of a group of males seeking to maintain permanent adolescence. Free Enterprise is not about record collectors, but home video (laserdisc) collectors and completists. Unfortunately, the film was finished just months before the DVD boom (made now, it would probably depict the lives of high-definition home video fanatics), but in its depiction of white male nerds (one of the characters happens to be black, but he is not one of the two primary protagonists) and of the obsessiveness of the completist collector—one character had his power shut off because he couldn’t pay his electric bill, because he preferred instead to spend the last of his money on the latest laserdisc issue of Dawn of the Dead—it ranks with both Diner and High Fidelity as movies wielding the sting of truth (I know because I belong to both worlds, as many of my generation do). Free Enterprise works well in showing how its characters’ love of the movies is connected to an idealized past, but happily its protagonists are willing to let go of their self-indulgent behavior long enough to make a serious commitment to a woman who loves them. Sometimes, nerds can become men.

Wunderkammer

Collecting—whether autographs, beer cans, baseball cards, comic books, stamps or records—is an activity that borders on the autistic. Autists, obsessed with the most obscure minutiae, are noted for their strange and unusual collections: birthdates of minor character actors of the silent film era, for instance, or even bus transfers. What distinguishes the autist collector from other collectors is the value of the collection: a collection of hundreds of bus transfers or obscure birth dates has little if any monetary value, while a record collection, in contrast, does, although the value of the latter may fluctuate wildly over the course of a decade.

Collecting of any kind is a parody of scientific endeavor. Like the scientist, the collector engages in empirical research, fieldwork, meticulous cataloguing, systematizing, and the diligent recording of exceptions, variations, and one-of-a-kind specimens. But like the stereotype of the exotic butterfly collector lost in the immensity of a vast and tangled rain forest, collectors are committed to a life of obsessive compulsion coupled with a willingness to engage without compunction in wasteful and extravagant expenditure: no sacrifice—typically of a financial kind—is too great. For the record collector, overwhelmed by the sheer amount of manufactured consumer goods (similar to the bewildering diversity of nature), dedicates himself or herself to the mastery and ownership of a discrete kind of material object. The activity borders on the autistic because its pleasure is derived from the illusion of mastery over what is essentially a vast, bewildering complexity, which is why collecting—in its excessively narrow focus—is a parody of the scientific enterprise. Record collectors gather pressings, editions, and variations with the single-mindedness of the most obsessive butterfly collector.

The goal of the collector—a mock profession in the sense that there is no income resulting from it, only a guarantee that the collection is, metaphorically, much like an investment—is the wunderkammer—the cabinet of wonders. The power of the wunderkammer is premised on being the biggest, the most complete, the strangest, the most outré—an assemblage premised on plenitude, extravagance, and—presumably because of its totality—beauty.

We ought to remember that collecting, as Theodor Adorno observed almost seventy years ago, is enabled because one can transform experience (for instance, the recognizing of a specific tune) into an object, thus making it capable of ownership.

Readings:
Theodor Adorno with George Simpson, “On Popular Music,” in Studies in Philosophy and Social Science 9 (1941), pp. 17-48.
Dave Marsh and James Bernard, The New Book of Rock Lists. Fireside: 1994.
Rosamond Wolff Purcell and Stephen Jay Gould, Finders, Keepers: Eight Collectors. W. W. Norton, 1992.
Lewis Shiner, Glimpses. Avon, 1993.