‘On GI Joe’ 09/18/2008
Posted by Vaughn in Essay, Journals, Marketing, Mass Media.comments closed
Editor’s Note:
I have been a GI Joe fanatic since I was a very, very little kid. (I even blogged about my history with the toy, once before, and the Blood for the Baron repository of its Action Force comics origins.) GI Joes were my escape from the world as an only child with a lot of free time. I would often hole up in my room for hours at times, arranging scenes and battles placing the figures in full armament compliment on the pegs of their vehicles. At night, the best of “my guys” defended me against the shadows in the darkened room and long hallway between my room and my parents’. “Joe” would also end up in my father’s flight-suit pockets during what I felt were particularly bleaker foreign policy times, as a kid. My own countermeasures system. (If Hit & Run was in Pop’s pocket, they both had to come back home.)
The 3 3/4 series of “Joe” were talismans and personal effects for me, accompanying me to all family road trips, class (Mrs. Gray gave me a lot of latitude) and social functions. I used to even read and commit to memory, before going to bed, the data on the file cards that were attached to their classic bubble packaging, telling the expertise of the particular character and their biography, which fully immersed me into the world and the significant mythology surrounding the franchise that spans from movies to lunch boxes.
So it was a logical progression for me to tap the personal, for a printed piece I wrote recently. The piece looks at the cultural legacy of GI Joe and its spanning multiple generations of boys’ toy experience. “Yo Joe!” was a piece that was begging to be written, because of its significance to my story. I learned to read four levels above my grade level in some small part because of those file cards and the fertility of my imagination grew out of playing with the toy. You are continually told to “write what you know” in university composition courses. This was the ultimate “writing what I know” and eventually what I didn’t know. The second part of the piece is a companion Q&A with avid collector Michael Domaguing, a friend of the magazine’s editor.
Yo Joe!: A Look at the Cultural Footprint of GI Joe
WHEN HASBRO re-released the GI Joe action figure in1982 (in 3 ¾ inch form) under the “A Real American Hero” line, after the original had been off of the shelves for years; no one, not even Hasbro, could have expected it to have become as big as it did. Piggy-backing off of GI Joe’s parallel universes in the UK Battle Action Force comics and its stateside comic book counterpart (that shared the same “A Real American Hero” name as the toy line), as well as the success of the forerunning twelve-inch GI Joe doll known as “America’s Moveable Fighting Man,” the 3 ¾ inch action-figure raised a generation of young boys on the battle between good versus evil.
Originally released in 1964 and developed by Stan Weston (the original twelve-inch doll was his idea) and Don Levine, then the creative director at Hasbro, the GI Joe doll was the very first indication that a “boys’ doll” market even existed. Between 1964 and 1978, the original, mostly twelve-inch GI Joe line, went through two re-interpretations from its military form. Hasbro responded to sensitivities to the Vietnam War and charted a more adventure-based path for “Joe,” and later, it moved the toy into outer space as a smaller 8 ½ inch doll called “Super Joe.” Over that time, GI Joe was a latent force for multiculturalism; introducing minority figures–first in selected cities, particularly an African-American version, and then nationally with its Super Joe and Super Joe commander lines. (Later, the line would feature prominent Native-American and Asian- American characters.) In the 1980s, the toyline displayed gender equality in its 3 ¾ series lineup by producing many strong female characters from Lady Jay to Scarlett, to Baroness and Covergirl.
By the time 1982 hit and the “A Real American Hero” 3 ¾ toy released, GI Joe’s twelve-inch cousin that was based on “general issue” historic military archetypes such as the marine, the pilot and sailor was fully adopted into the mainstream, and the market for poseable figures for boys was no longer an unknown quantity in the toy business. Also by 1982, a more appealing and masculine gender term had surfaced to replace the old moniker of “doll.” The term was “action figure,” and it had hit the parlance. 1982 also brought the release of the GI Joe: A Real American Hero cartoon that coincided with the comic book series and toy. The animated series was the beginning of the purely product tie-in children’s program that developed and flourished in the 1980s. It was a system where children’s morning television became the breeding ground for acculturation into consumerism, and where a toy generally begat licensed apparel, licensed apparel begat accessories and school supplies, and all begat a movie and video game—if lucky.
Not that there’s anything wrong with such unabashed youth consumerism since it is, partially, the lifeblood of an economy. And Hasbro took that consumerism seriously and if you were a “Joe fan” coming up, you were well aware of this. Between the two toy bases that were produced, an aircraft carrier, and an arrayed offering of vehicles and characters (that like the car industry was updated yearly), the GI Joe 3 ¾ toy was an economic monster that was able to print its own money. Within five years, the GI Joe: A Real American Hero franchise had burrowed itself into the consciousness of boys and it became the laser-blasting toy du jour, along with Star Wars and Transformers. The success of the toy was, in part, the result of the mythology that the cartoon and comic were able to create—getting young boys to both follow and desire to recreate the toy’s television and comic book storylines.
This interest in the GI Joe mythology was enough to lead to GI Joe: The Movie, which was a straight-to-video release that to this day, holds a soft-spot in most ’80s boys’ hearts. The movie, much like the animated series, brought the introduction of several new characters that were not seen in the original 1982-1986 cartoon episodic, then already in its fourth season. Introducing the characters of Jinx, Tunnel Rat, Lieutenant Falcon, Law, Sergeant Slaughter’s Renegades and others, GI Joe: The Movie was the peak of GI Joe’s ascendance. While characters: Snake Eyes, Duke, Storm Shadow, Cobra Commander and Destro represented the original generation of GI Joe in the 3 ¾ form and in the cartoon and comic, the new characters of the1987 team marked the dividing line in the GI Joe 3 ¾ inch series, between its old school and new school, with updates to the appearances of many of its original 1982 characters soon after.
The success of the GI Joe toy line and cartoon cannot be spoken of without the mentioning of the cartoon and toys’ parallel to real military forces and technology. From characters like Lifeline (a medic), to Mainframe (a computer specialist), to Beachhead (an Army Ranger), to the vehicles that were featured in dramatic motion in the cartoon, the “Joe” universe replicated or implied existing military technology and roles, or a very plausible military future. It is even believed within some of the GI Joe collecting community that the migration of the toys from the more realistic military interpretations seen in its earlier series, to the more exotic and futuristic elements that were seen in the latter part of the line — hurt the sales of the GI Joe toy in the 1990s, and eventually it saw its discontinuation in 1994.
Since the ‘90s, the GI Joe toy and cartoon has seen its ups and downs, and several attempts at giving the franchise a much-needed shot in the arm such as GI Joe: Sigma 6, which began airing in 2005 and used the same cartoon and toy product tie-in as the original A Real American Hero series. For a small period of time in the ‘90s, before the toy’s end, the incorporation of Mortal Kombat and Street Fighter characters into the toyline was another ploy used to trump up flagging sales. Though Hasbro and GI Joe was no stranger to such a situation, during the late ‘80s the franchise faced a similar fate as the cartoon was off the air for some time. Eventually, the animated series’ rights were purchased by Dic from Sunbow, the company that originally produced the GI Joe: Real American Hero series, and the franchise was re-aired and invigorated.
In 2007, the 3 ¾ toy celebrated its 25th Anniversary and reminiscent collectors’ packs sold well to the generation who grew up watching the series and purchasing the figures and vehicles. And of course, GI Joe’s presence in the comic book and toy-collecting scene has seen little tapering. The fond memories of the anti-terrorist force filled with characters of unmatched specialties still reigns in the imaginations of twenty to thirty-something adult men. Everything from the classic “file cards” (attached to the packaging of GI Joe figures) that many a “Joe” fan grew up reading and collecting, to the original bases and vehicles, have myriad Internet forums and eBay listings, proving GI Joe’s pulse is stronger than indexes can measure. In the summer of 2009, GI Joe:The Rise of Cobra, a feature-length film capitalizing on the ever-lasting mythology of a toyline, comic book and cartoon symbiosis will hit the screens. Undoubtedly, the movie will be the first introduction to the story for many, but it will also be the chance for those who grew up with the sounds and visuals of the cartoon’s often inaccurate laser bursts, to no longer have to imagine the scenes in live-action. And surely, through the flick, the toyline will again benefit from its mythology.
Conversation With a Collector: Michael Domaguing
What are your memories of your first GI Joe figure?
My first memory was my best friend Bob’s first GI Joe–Snow Job. I thought they were cool with the accessories and the amount of detail. Much better than Star Wars figures
What was the best 3 3/4 inch series collection overall?
I would say the 2nd series with the revised Snake Eyes and Storm Shadow. I mean secret operatives and ninjas, what more could you want in the late 80s?
How did you feel about the Hasbro marketing of special edition teams like “Night Force” and other such sub-collections that re-imagined some famed “Joe” characters in the late ‘80s and early ‘90s?
I thought it was Hasbro’s version of “Jumping the Shark.” I mean, creating a tie-in with Street Fighter and the environment. I thought that was the end of the product.
Most personally significant piece?
1985 Snake Eyes. It is my coolest piece.
Why do you think GI Joe has had such a pull over these years and generations of kids?
I think that GI Joe is a timeless brand with everyone. Since WWII, kids have had an infatuation with the military. GI Joe has enabled [them] to tap into the infatuation as well as modernize them with the backstory and accessories.
Any thoughts on the 25th anniversary collection?
I think any time when you can bring back a childhood memory with more details…the better.
Flint and Lady Jay or Scarlett and Duke? Which was a couple and which were just flirting?
According to the Marvel Comics, Scarlett is dating Snake Eyes, not Duke. Flint and Lady Jaye were dating.
The cost of properly maintaining your collection?
Approximately a couple thousand dollars and hours of love.
Are there any pieces that took a long time to obtain?
Argentinian Snake Eyes. I had [to] visit a recent divorced guy in South Orange County. I brought my overly protective roommate for backup, and an excuse to escape his over-talkativeness.
Is there a GI Joe “Holy Grail” item?
1984 Carded Snake Eyes.
Any personal significance in the GI Joe universe being a multicultural and gender equal environment?
I think that is always important since this is “reality.” I think it allowed many people to relate to the GI Joe line.
Hands down, most awesome vehicle?
Either the Skyhawk or the Sky Striker (F-14 Tomcat).
When you were young, did you also notice that no one ever died or hit their non-machine targets in the cartoon “Joe” universe?
I did notice, but there were some deaths in the GI Joe movie. I think someone died. I do know in the comic book Doc and Quick-Kick died.
Why is Destro’s face made of metal but I still see his facial expressions?
Because he is a baller and can afford the most expensive facial surgery…
Alex Rayner’s Question About British Street Art: Restoration? 09/06/2008
Posted by Vaughn in Art, Essay, Global, Mass Media.comments closed
THE GUARDIAN’S Alex Rayner has a question about street art, and how it is to be handled in Great Britain. In New York, a movement is arising that recognizes the important contribution of graf to the city and its stature as a capitol in the visual communication movement of graffiti. It turns out that two well-known and highly-valued pieces in Lower Manhattan have been retouched and in the L.E.S. (Lower East Side), a work has been repainted in its entirety, which may prove as some sort of vindication for mid ’90s graf artists of Giuliani’s anesthetic, sterilized New York.
Last year in May of 2007, the developers of 151 Wooster Street in SoHo, unearthed some old graffiti beneath gypsum boards. It was then relayed to Michael Namer, a partner in Alfa development, the company handling the 151 Wooster Street project, that work belonging to the famed street artist Basquiat was possibly in the building, and later the news that art critic deAk once lived on its eighth floor, only heightened Namer’s interest. It was Namer’s son who eventually discovered some work of historical note, however, while it wasn’t a full logical piece of graf gravitas, his son did come to find a mish-mash of work by legends of the ’80s scene. As Rayner wrote it was, “a floor-to-ceiling hash of tags, throw-ups and burners belonging to such old school graffiti writers as Fab 5 Freddy, Futura 2000, Nesto, Ramellzee, as well as Basquiat.”
The work was a bit random and what Rayner called “adolescent,” but they were well-preserved and with a belief that further preservation was necessary, the Namers called on Harriet Irgang, a highly-respected New York art conservationist. Using chisels, stiff fabric, cheese cloth, tissue paper and adhesive, Irgang was able to remount the graf onto a lightweight panel. The piece was then displayed at 151 Wooster toward the end of last year, and will join a major museum in the very near future.
For New York’s street art enthusiasts, all of this newfound reverence for graffiti will come as something of a relief. In 1997 The New York Times declared Lower Manhattan “graffiti free”, thanks to the efforts of the Alliance for Downtown New York, a local business and residents’ organisation which spearheaded a quick-response power washing service for any tag stricken walls in its district.
It seems that, 10 years on from their graffiti moratorium, now their streets are moderately crime-free and New Wave New York of the early 80s has never been cooler, the very same property developers and business leaders are finding graffiti not quite so unwanted as they once imagined. -Alex Rayner, The Guardian
The city’s and the Namer’s great fortune is not the case for every one who encounters such work. The story of a Keith Harring piece that was uncovered by architects at 260 West Broadway wasn’t greeted with such luck. The two architects, Todd Ernst and Frank Servido, found a water soluble Harring work composed of shoe-polish and alcohol, in a cupboard, placed right next to a sprinkler pipe. It turns out that the piece was too fragile to be removed. So the Harring mural is up for sale as part of the apartment triplex they were developing, only adding a hundred thousand dollars to the structure, which by the way is sporting a price tag of $16, 995,000 dollars. (A Harring piece went for $2,840,000 last year.)
Are these cases of another “I miss the old New York,” that are like the now coveted street wear tee and hat from graf artist Stash’s Recon label, a remembrance of the not so corporate, non-family-oriented and dirty New York; that actually felt like an adult town, filled with perils around every corner? Since now, NYC has become a generally, very, very safe big city? Or is this something greater? Is it possible that graffiti, after being the cornerstone of urban decay arguments and policing theories like “Broken Windows,”* is now beginning to be seen as something greater than an eye-sore? Those questions remain to be answered.
But Alex Rayner provides another more equally compelling question when taking into account the rich graffiti movement’s expressions in European cities like Barcelona, London, Paris and others. That is, will this American appreciation find a metastasis? Because one could certainly make the case for why it is very much necessary. As Rayner points out, the famed and still mysterious Banksy (despite his possible outing on Facebook just months ago, I even “befriended” him) is protected by an English Heritage preservation order. However, that is not so much the case for older graf artists, who are not of Banksy’s era. Could Britain’s art historians also learn from the preeminent American graf city’s love-hate relationship with their artists and their works? At least one person whom Rayner spoke to, thinks so. Beth Gregory, who is an assistant curator at a London gallery by the name of Stolen Space, that specializes in “outsider art” and graf, certainly thinks so:
It’s a shame that city councils and officials didn’t have the vision to save original public pieces of art from the pop art and early graffiti era,” she says, “all of which are now distant memories preserved only in books.
*The sourcing of “Broken Windows” theory has a direct relation to the mid ’90s New York cleanup. City-Journal has long been a proponent of Giuliani policing and cleanup tactics and lauded the former mayor frequently for his work, during his tenure.
Read Alex Rayner’s, “Street Art: Scribbles Behind the Wardrobe” for The Guardian [Here]
Dexter Filkins’ ‘My Long War’ 09/06/2008
Posted by Vaughn in Conflict, Defense, Essay, Global.comments closed
THERE’S NOTHING more maddening than war. Having never personally experienced it, but being constantly surrounded by its mindset while growing up, I have realized that there is a built-in insanity clause to it like that scene in Catch-22 where the novels hero, Yossarian, talks to the flight surgeon with the hopes of being grounded from bombing missions and avoiding his own possible death. His reason, given to the flight surgeon? Being afraid to die.
Yossarian is told that to be grounded he only needs to ask, but he also must be deemed “crazy.” However, being crazy according to the Army Air Force guidelines is not in fact crazy: since him admitting that he is crazy or agreeing to the diagnosis, for fear of dying in combat, is quite rational. (Who isn’t afraid of dying in war? Crazy people.) And so Yossarian claiming to be crazy and acknowledging that he is, would in fact, mean that he is not crazy and perfectly fit to fly. Hence the introduction of the idea of a “Catch-22″ into the American lexicon.
Reading the first excerpts of Dexter Filkins’ The Forever War, brings about the same feelings of a Catch-22. Poring over the work, I wonder why is this madness happening? Why is life being treated so disposably? I ask if the cost of military and civilian lives since 9/11, on all sides of the battle, has ever been worth it? The Forever War tells of Filkins’ experience in Afghanistan and Iraq working for the New York Times covering the Global War on Terror which has spiraled into a nebulous battle of asymmetry, between the world’s most powerful nation and an assortment of disparate groupings, (some of which are only fighting for their nation’s freedom from occupation), and have an advantage because of the very fact that they are in essence organized chaos.
Ironically, that is how Filkins’ book seems to brilliantly work. It goes from one scene to another, not following a logic, but it is so fitting because nothing seems logical in Filkins’ experience. It’s all tragic insanity from the little girl who has already seen too much, to the young marine who dies while escorting him and his photographer into an insurgent trap: a spiraling 100 foot nautilus where jihadis perched, waiting and ready to pick him or any American off.
Insanity is that Marine’s parents’ extraordinarily warm and understanding and kind reaction to Filkins as he visited them after their son’s death, following the funeral, all the while, knowing that their son had died not on a mission fighting a jihadist “over there” (as Bush once famously said, claiming that he made an away game for the US military, in order to avoid a “terrorism home game” on our soil), but on a mission to get a journalist for the NY Times a picture. A fucking picture? A—at the time—needed still image of a dead body to be more exact, for an assignment, that was ironically exchanged for their son’s own life. And Filkins, himself, was befuddled and frustrated by the parents’ reaction, it seems as if he would rather have them belligerent towards him like the father of a woman who was murdered in Palm Bay, Florida. One that he “hadn’t even gotten [...] killed,” he wrote. It made no sense, the parents’ reaction.
I saw a picture of a Marine at his base camp recently. He was in the background unarmed; nothing, no helmet, just him, passing through a corridor. In the foreground, much closer to the photographer, was a white dry-erase board. On that white dry-erase board it said in green marker: “The Marines are at war, America is at the mall.” There are those kind of moments in Filkins’ excerpted piece from The Forever War, published in the August 22nd edition of the New York Times Magazine.
Filkins comes home to Cambridge and runs, just as he did in Baghdad, only in the safe bounds of the surrounding Harvard environs, where he is fascinated by a skunk and no longer petrified by vicious wild dogs or the possibility of being kidnapped, or accidentally shot by shaky Iraqi police forces in the dead of night. It is the moment you realize just how much is at stake when we fight wars.
Right now the battlefield is “over there” and we are blind, almost immune. Most people I know, most of them young, most of them do not think about the war, while our generational cohort is dying and losing limbs, friends and their sanity. But the longer it goes, the more are affected, and soon our peace will have to cease as well. Read Dexter Filkins’ “My Long War” and The Forever War when it releases September 16. The book might be the most honest account of this war yet.
Read Dexter Filkins’ “My Long War”, excerpted from The Forever War [Here]*
*Registration with the NY Times may be necessary
