From: <Saved by Microsoft Internet Explorer 5>
Subject: Guardian Unlimited | The Guardian | Flight from reality
Date: Wed, 20 Aug 2003 00:39:15 +0100
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      <TABLE cellSpacing=3D0 cellPadding=3D0 width=3D128 border=3D0>
        <TBODY>
        <TR>
          <TD width=3D2 bgColor=3D#999999 height=3D18>&nbsp;</TD>
          <TD width=3D126 bgColor=3D#999999 height=3D18><FONT=20
            face=3DGeneva,Arial,sans-serif color=3D#ffffff =
size=3D2><B>In this=20
            section</B> </FONT></TD></TR>
        <TR>
          <TD colSpan=3D2 height=3D6></TD></TR>
        <TR align=3Dleft>
          <TD bgColor=3D#ffffff colSpan=3D2><FONT =
face=3DGeneva,Arial,sans-serif=20
            size=3D1><A=20
            =
href=3D"http://www.guardian.co.uk/weekend/story/0,3605,1018487,00.html">A=
=20
            time for happiness</A>
            <P><A=20
            =
href=3D"http://www.guardian.co.uk/weekend/story/0,3605,1018486,00.html">T=
he=20
            monstrous in the magnificent</A>
            <P><A=20
            =
href=3D"http://www.guardian.co.uk/weekend/story/0,3605,1018488,00.html">Z=
olissimo</A>
            <P><A=20
            =
href=3D"http://www.guardian.co.uk/weekend/story/0,3605,1018485,00.html">F=
light=20
            from reality</A>
            <P><A=20
            =
href=3D"http://www.guardian.co.uk/weekend/story/0,3605,1018478,00.html">A=
=20
            funny thing happened</A>
            <P><A=20
            =
href=3D"http://www.guardian.co.uk/weekend/story/0,3605,1018479,00.html">A=
=20
            taste of Libert=E9</A>
            <P><A=20
            =
href=3D"http://www.guardian.co.uk/weekend/story/0,3605,1018480,00.html">T=
hings=20
            you only know if you're not at work</A>
            <P><A=20
            =
href=3D"http://www.guardian.co.uk/weekend/story/0,3605,1018493,00.html">H=
ow=20
            to wear clothes</A>
            <P><A=20
            =
href=3D"http://www.guardian.co.uk/weekend/story/0,3605,1018495,00.html">W=
ear=20
            it now</A>
            <P><A=20
            =
href=3D"http://www.guardian.co.uk/weekend/story/0,3605,1018494,00.html">T=
he=20
            measure</A>
            <P><A=20
            =
href=3D"http://www.guardian.co.uk/weekend/story/0,3605,1018498,00.html">T=
he=20
            new black</A>
            <P><A=20
            =
href=3D"http://www.guardian.co.uk/weekend/story/0,3605,1018496,00.html">A=
ll=20
            made up</A>
            <P><A=20
            =
href=3D"http://www.guardian.co.uk/weekend/story/0,3605,1018497,00.html">M=
irror=20
            mirror</A>
            <P><A=20
            =
href=3D"http://www.guardian.co.uk/weekend/story/0,3605,1018507,00.html">A=
ll=20
            the men I've never slept with</A>
            <P><A=20
            =
href=3D"http://www.guardian.co.uk/weekend/story/0,3605,1018505,00.html">O=
ff=20
            with a bang</A>
            <P><A=20
            =
href=3D"http://www.guardian.co.uk/weekend/story/0,3605,1018506,00.html">A=
lmost=20
            a grown-up</A>
            <P><A=20
            =
href=3D"http://www.guardian.co.uk/weekend/story/0,3605,1018508,00.html">W=
e=20
            love each other</A>
            <P><A=20
            =
href=3D"http://www.guardian.co.uk/weekend/story/0,3605,1018500,00.html">A=
sk=20
            Emma</A>
            <P><A=20
            =
href=3D"http://www.guardian.co.uk/weekend/story/0,3605,1018501,00.html">S=
trike=20
            a balance</A>
            <P><A=20
            =
href=3D"http://www.guardian.co.uk/weekend/story/0,3605,1018509,00.html">E=
nd=20
            these no-go zones</A>
            <P><A=20
            =
href=3D"http://www.guardian.co.uk/weekend/story/0,3605,1018512,00.html">I=
'=20
            ve got pots for you</A>
            <P><A=20
            =
href=3D"http://www.guardian.co.uk/weekend/story/0,3605,1018510,00.html">T=
o=20
            DIY for</A>
            <P><A=20
            =
href=3D"http://www.guardian.co.uk/weekend/story/0,3605,1018511,00.html">T=
o=20
            die for</A>
            <P><A=20
            =
href=3D"http://www.guardian.co.uk/weekend/story/0,3605,1018515,00.html">T=
he=20
            acid test</A>
            <P><A=20
            =
href=3D"http://www.guardian.co.uk/weekend/story/0,3605,1018516,00.html">B=
enares=20
            17/20</A>
            <P><A=20
            =
href=3D"http://www.guardian.co.uk/weekend/story/0,3605,1018520,00.html">T=
he=20
            perfect... green beens</A>
            <P><A=20
            =
href=3D"http://www.guardian.co.uk/weekend/story/0,3605,1018517,00.html">S=
uper=20
            plonk</A>
            <P><A=20
            =
href=3D"http://www.guardian.co.uk/weekend/story/0,3605,1018519,00.html">D=
own=20
            in one</A>
            <P><A=20
            =
href=3D"http://www.guardian.co.uk/weekend/story/0,3605,1018514,00.html">C=
old=20
            comfort</A>
            <P><A=20
            =
href=3D"http://www.guardian.co.uk/weekend/story/0,3605,1018513,00.html">L=
inford=20
            Christie</A>
            <P><A=20
            =
href=3D"http://www.guardian.co.uk/weekend/story/0,3605,1018481,00.html">H=
ow=20
            to... be glum</A>
            <P><A=20
            =
href=3D"http://www.guardian.co.uk/weekend/story/0,3605,1018483,00.html">D=
ear=20
            Weekend</A>
            <P><A=20
            =
href=3D"http://www.guardian.co.uk/weekend/story/0,3605,1018482,00.html">Q=
&amp;A</A>
            <P><!-- other headlines =
--></FONT></P></TD></TR></TBODY></TABLE>
      <P><BR></P></TD>
    <TD></TD>
    <TD vAlign=3Dtop=20
      height=3D1><!-- Vignette V/5 Sat Aug 16 02:37:44 2003 --><FONT=20
      face=3Darial,helvetica,sans-serif size=3D5><B>Flight from =
reality</B></FONT>=20
      <BR><BR><FONT face=3Darial,helvetica,sans-serif size=3D3>Colouring =
our hair is=20
      the norm, fake tan routine. We love the smell of artificial =
leather, hate=20
      new-mown grass. Do we even know what 'real' is any more? Laura =
Barton=20
      explores the all-consuming fascination with the fake</FONT> =
<BR><BR><FONT=20
      face=3DGeneva,Arial,sans-serif size=3D2><B>Saturday August 16, =
2003<BR><A=20
      href=3D"http://www.guardian.co.uk/">The Guardian</A></B>=20
      <BR><BR></FONT><FONT face=3DGeneva,Arial,sans-serif =
size=3D2>Friday night,=20
      midsummer, and the air is thick with the smell of fake tan. The=20
      honey-limbed lovelies are out on the razzle in a blur of high =
heels,=20
      faux-Vuitton handbags, and hoicked-up bosoms. They flick their =
highlighted=20
      hair hither, thither, and rat-a-tat-tat their false nails on the =
counter,=20
      trying to catch the barman's eye.=20
      <P>They are, of course, faking it, like latter-day sirens, =
bewitching the=20
      unwitting, when underneath the layers of St Tropez and Sun-In they =
are=20
      pale-skinned brunettes, 5ft 5in in their bare feet, flat-chested =
and=20
      stubby-nailed. Our infatuation with the fake is a puzzling thing. =
Turn=20
      left out of London's Baker Street station, and you'll see the =
long,=20
      snaking queue for Madame Tussaud's. This is Britain's most popular =
tourist=20
      attraction. Each year, some 2 million people shell out =A320 to =
stroll about=20
      the staggering array of waxworks. On a hot Monday afternoon it is =
swimming=20
      with French schoolchildren. They hover, slightly nonplussed, =
before Ant=20
      and Dec, and pace around Kylie Minogue, who is paused, mid-prowl =
across a=20
      grand piano, her neat little derri=E8re upturned towards the =
ceiling. And as=20
      they stand, stock still, enraptured, it is hard to tell who are =
the real=20
      people and who are the waxworks.=20
      <P>Unravelling the real from the fake is an activity that is also=20
      occupying the thoughts of David Boyle. In his new book, =
Authenticity:=20
      Brands, Fakes, Spin And The Lust For Real Life, Boyle embarks upon =
an=20
      appraisal of the battle between the two. "Everywhere we look, =
there is a=20
      barely recorded struggle happening between real and artificial," =
he=20
      writes. "[But] far from experiencing the last twitches of the real =
world,=20
      I believe this struggle may be a clue to the way the future is =
going to=20
      be."=20
      <P>Accordingly, he treks to Ocean Dome in Japan, where, within =
spitting=20
      distance of the Pacific ocean, a company named Phoenix Resorts has =
spent=20
      $1bn constructing an enclosed artificial resort, complete with =
13,500=20
      tonnes of water, a white-pebbled beach, and the strains of Swing =
Low=20
      (Sweet Chariot) piped through a speaker system. After a good hour =
spent=20
      writing postcards and wandering around the replica volcano and the =

      artificial palm trees in garish orange swimming shorts, Boyle =
folds his=20
      towel and heads back to the "real sunshine" outside. He has been =
somewhat=20
      bolstered by his experience. "If you look around today," he tells =
us,=20
      "despite Ocean Dome and McDonald's and Microsoft, the real world =
has been=20
      fighting back."=20
      <P>I picture Boyle, smiling brilliantly, triumphant in the face of =
all=20
      this fakery, and I feel a little sad. I don't know that we are =
fighting=20
      back at all; I fear our connection to the real has, like some =
great=20
      umbilical cord, been cut. In the foreword to Authenticity, Boyle =
heaves=20
      out a quote from Aldous Huxley's Brave New World: "Primroses and=20
      landscapes, he pointed out, have one grave defect: they are =
gratuitous. A=20
      love of nature keeps no factories busy. It was decided to abolish =
the love=20
      of nature, at any rate among the lower classes; to abolish the =
love of=20
      nature, but not the tendency to consume transport. For, of course, =
it was=20
      essential that they should keep on going to the country, even =
though they=20
      hated it... "=20
      <P>Boyle quotes the passage exultantly, as an example of a world =
that will=20
      only ever exist within the confines of literary fantasy; after =
all, who=20
      could ever conceive that we might abolish the love of nature?=20
      <P>Dr Alan Hirsch phones me from the airport. He has one of those=20
      deliciously twangy American accents you recognise from the movies, =
and it=20
      carries across the crackling phone line and over the hum of =
distant=20
      travellers milling about behind him. Hirsch is the managing =
director of=20
      the Smell And Taste Treatment And Research Foundation in Chicago. =
In=20
      September 1991, he interviewed nearly 1,000 men and women chosen =
at random=20
      in Chicago, asking which odours they found inspired feelings of =
nostalgia.=20
      Hirsch discovered that those interviewees born before 1930 cited =
mainly=20
      natural smells, such as pine, hay, horses and meadows. Meanwhile, =
those=20
      born after 1930 were more likely to mention artificial smells, =
such as=20
      marker pens, Play Dough and baby powder. Hirsch also found that =
while=20
      those born before 1960 liked the smell of freshly cut grass, those =
born=20
      between 1960 and 1979 actively disliked it, associating it with =
the=20
      "unpleasant necessity of mowing the lawn".=20
      <P>In a separate investigation, Hirsch tested 20,000 people to see =
whether=20
      they preferred the smell of real or artificial leather. "An =
overwhelming=20
      proportion preferred the smell of the artificial," he says. "So, =
in the US=20
      now, leather seats in cars are impregnated with the smell of =
artificial=20
      leather." I laugh at the preposterousness of the idea, but Hirsch =
has=20
      hardly begun: "Grape juice doesn't smell of grapes, and people =
prefer=20
      that. Flower shops are scented to smell of flowers. Even =
scent-free soap=20
      is scented."=20
      <P>The list goes on: Hirsch tells me how perfumiers often add a =
smell akin=20
      to baby powder to their scents, to evoke a sense of nostalgia in =
potential=20
      buyers. How supermarkets bump up the sales of their bakery goods =
by=20
      releasing the smell of newly baked bread into the store, how =
cinema foyers=20
      are scented with the smell of fresh popcorn, and cookie stalls =
ensure that=20
      the air around them is perpetually laced with the sweet scent of =
chocolate=20
      chip cookies. In the US, he says, the lingerie chain Victoria's =
Secret=20
      employs a special kind of floral pot pourri throughout all its =
stores to=20
      give a uniform, instantly recognisable scent to the brand. Even =
artificial=20
      plants are being put in parks, because it is too costly to =
maintain real=20
      ones. "Artificial," Hirsch concludes, "is now the norm and is the=20
      expected.=20
      <P>"I would predict that we are only at the start of it," he says, =
a=20
      mixture of trepidation and excitement in his voice. "It will =
increase as=20
      we develop the capacity to produce certain aromas and non-real =
foods.=20
      We're just on the threshold of all these things happening. The =
artificial=20
      will replace the real, because we as a culture have grown to =
endorse it."=20
      <P>But we will lose something in the process. As we continue to =
endorse=20
      the artificial over the real, those primroses and landscapes of =
Huxley's=20
      Brave New World will grow increasingly gratuitous. "We lose this=20
      connection with nature," concedes Hirsch, "which may perhaps =
affect the=20
      environmental movement. Who cares about the natural world when =
people are=20
      nostalgic for the synthetic?"=20
      <P>What is this "real" we will be so unceremoniously ditching? Is =
it=20
      "real" free-range eggs and organic cauliflower, proper ale and the =
smell=20
      of manure? Is it dirt under your nails, the great outdoors and =
life=20
      without the constant blinking distraction of the television =
screen? As=20
      professor of media and culture at Syracuse University and former =
president=20
      of the National Popular Culture Association, Robert Thompson is =
perhaps=20
      better placed than most to define what we mean when we describe =
something=20
      as real.=20
      <P>"When the 20th-century naturalist novelists and playwrights had =
this=20
      idea of wanting to be more 'real' they included dirty cups and =
saucers on=20
      stage to communicate that texture of daily life," Thompson says. =
"In 1971,=20
      when US TV decided it wanted to 'get real' with the series All In =
The=20
      Family, the character of Archie Bunker would go to the bathroom =
and you'd=20
      hear the flush. People had never seen that on television before."=20
      <P>Even on our screens today, EastEnders is credited for its =
"gritty=20
      realism", though one could easily speculate that plotlines such as =
a=20
      notorious crim falling head-over-heels with an undercover =
policewoman, and=20
      someone tumbling into a canal while looking for a condom, are a =
far cry=20
      from most of our own humdrum experiences of reality. The real =
reason we=20
      believe EastEnders to be more realistic than, say, Neighbours, is =
because=20
      EastEnders is miserable as sin: an endless procession of =
squally-mouthed=20
      characters trudging through their sludge-coloured lives in the =
dog-eared=20
      environs of Albert Square.=20
      <P>"To many people, 'real' means the street and dirty dishes," =
says=20
      Thompson. "But these things are no more real than a tidy house and =

      sparkling plates. It's because for so long we associated those =
things with=20
      the superficial world of novels and how things were portrayed on =
TV in the=20
      1950s. We view the gritty, heartbreaking scenes as real because =
they are=20
      so different from the utopian ideal."=20
      <P>In theory, reality TV, with its fly-on-the-wall cameras and its =
bona=20
      fide actual people, ought to grant us an unfettered view of real =
life.=20
      But, of course, its execution is a little more calculated than the =
name=20
      implies. "Reality TV is really a terrible name for it," agrees =
Thompson.=20
      "On one level, it's every bit as artificial as everything else - =
the whole=20
      thing is contrived. But," and here his voice grows a little =
hopeful, "what=20
      you pour in is people without scripts, and what results then is =
something=20
      closer to reality. You've left these cracks into which reality can =
seep.=20
      In the case of reality dating shows, you get to see all the ugly, =
stupid,=20
      inarticulate behaviour you never get to see Tom Hanks and Meg Ryan =
do,=20
      except in the most charming of ways." I can hear him, smiling down =
the=20
      line at the thought, presumably, of Sleepless In Seattle.=20
      <P>Ah, Meg Ryan. Ryan, as anyone who has ever seen When Harry Met =
Sally=20
      will assure you, is the queen of faking it. As you read this, =
thousands of=20
      women are making like Meg, emitting a sound like a hurdy-gurdy =
because=20
      that's how we feel orgasming should be done. It's like a form of =
sexual=20
      karaoke, with a tune more popular, even, than I Will Survive.=20
      <P>When Cosmopolitan magazine was launched in 1972, in a flurry of =

      relentless chatter about fabulous sex and sure-fire tips to=20
      earth-shattering orgasms, it was seen as an example of women's new =
sexual=20
      liberation. However, 31 years later, a survey commissioned by Ann =
Summers=20
      found that 80% of women regularly fake orgasm. Previously, one has =
to=20
      wonder whether women would have even bothered faking it. Now we =
fake it=20
      for the benefit of our feckless sexual partners, and, crucially, =
we fake=20
      it for ourselves, because we feel that it's what we should be =
doing. If=20
      all else fails, the Worst Case Scenario Handbook even offers a =
series of=20
      foolproof steps to faking an orgasm, including such sage advice =
as, "You=20
      may say your partner's name over and over. Many people, in the =
thralls of=20
      ecstasy, will blurt out sentences or requests that are utterly=20
      incomprehensible: try this occasionally."=20
      <P>When multimillion-selling rap artists, resplendent in =
floor-length=20
      chinchilla, umpteen gold medallions and diamonds on every finger, =
claim to=20
      be "keeping it real" what, precisely, do they mean? "What they are =

      saying," explains Thompson, "is that 'here you are going to get =
the raw=20
      truth, sex, bad language, violence. This is where the rubber soles =
of your=20
      Nikes hit the street.' Because rap lyrics and videos have a =
documentary=20
      quality, they're 'real'. But of course," he admits, "it is no more =
real=20
      than a Britney Spears record."=20
      <P>"I'm Real," purred Jennifer Lopez, recently. Jenny presumably =
retains=20
      her "real" credentials because she is (a) from "the block" and (b) =
in=20
      possession of a proudly large posterior. Yet there are some things =
about=20
      Jenny that aren't so real: I know, for reasons that disturb me, =
precisely=20
      which fake tan she uses, which foot cream, which styling products =
smooth=20
      those treacle-coloured locks. I've seen pictures of her, back in =
the early=20
      days, when she was a pallid brunette with unkempt brows.=20
      <P>Of course, the cosmetic industry was never about reality. Over =
the=20
      years, we have performed the most ridiculous rituals in the name =
of beauty=20
      - powdering our faces with lead, for example, crayoning on fake =
beauty=20
      spots, and lacquering toenails startling shades of scarlet. But =
there was=20
      a time when one at least used to pretend that the collar and cuffs =
were=20
      matching. Nowadays, most women wear their blatantly dyed locks as =
a sign=20
      of status. We are caramel one season, mahogany the next, anxiously =

      inspecting our roots to check whether our natural colour is =
creeping back,=20
      like mould. "Hair colour has become an essential part of a woman's =
beauty=20
      routine, to the extent that hair without colour is like a face =
without=20
      make-up," declares hair colour doyen Daniel Galvin.=20
      <P>And in truth, I am always vaguely surprised when I meet a woman =
who=20
      doesn't colour her hair. The ridiculousness of this does not =
escape me,=20
      nor does the stupidity of the fact that I myself have brown hair, =
which I=20
      dye brown. It is, of course, my firm belief that I am dyeing it a =
superior=20
      shade of brown. Galvin explains, "We colour hair to make it even =
more=20
      beautiful than nature intended."=20
      <P>In the 1920s and 1930s, hair dye was limited to henna, with the =

      resulting colour an unapologetic shade of red. Consequently, =
dyeing one's=20
      hair was deemed to be the behaviour of a harlot. When Galvin began =
working=20
      in salons in the 1960s, he found that only about 10% of women =
would have=20
      their hair coloured, and even then it was largely with the =
intention of=20
      covering grey hair. "I realised then," he says, "that there was a =
lot of=20
      potential for hair colour." He began by using solid blocks of =
tint, but by=20
      the 1970s had progressed to highlights and outlandish, unnatural =
shades.=20
      Today, Galvin says, hair colouring is the number one request in =
salons.=20
      <P>We are almost as averse to seeing our skin in its natural =
shade. For=20
      all the much-touted pale skin pioneers, such as Nicole Kidman, =
Cate=20
      Blanchett and Erin O'Connor, the majority of white women still =
crave the=20
      Californian sunkissed look. Given that we live in the UK, and that =
our=20
      national skin colour appears to be an unappealing shade of =
porridge,=20
      faking tans is the logical answer. Tanning salons consequently =
remain=20
      popular, despite continued health warnings that suggest usage =
might be=20
      linked to skin cancer. In a recent study commissioned by Au =
Courant fake=20
      tan, 2,000 women aged 16-65 were asked about their attitudes to =
tanned=20
      skin. More than three-quarters felt a tan was important, making =
them feel=20
      more attractive and more confident. A little less than half =
admitted using=20
      fake tan products. Around the globe, meanwhile, a bottle of St =
Tropez fake=20
      tan sells every 10 seconds.=20
      <P>We still want the effect to be real. Few of us wish to look as =
if we=20
      have been a regular at the tanning salon, have had our teeth =
whitened, or=20
      had nips and tucks. Take Mary Archer, for example, who wanted her =
cosmetic=20
      surgery to look as though she hadn't had surgery at all. Even Cate =

      Blanchett is said to use a product called SK-II Deep Whitening =
Clarifying=20
      Radiance Emulsion, which makes skin paler. All of us are faking =
it, to=20
      some extent, and as a result there exists between women an =
unspoken=20
      contract of fakeness.=20
      <P>One fake beauty trend which has slipped furtively across the =
Atlantic=20
      is false nails. Once deemed unfailingly naff, they have now =
acquired a=20
      curious respectability. The longer and more talon-like one wears =
them, the=20
      more kudos one can expect to receive (although, admittedly, the =
less one=20
      can be expected physically to achieve with one's hands). Over the =
past=20
      decade, the number of nail salons across the US has increased by =
374%. The=20
      industry now represents $6.4bn and employs 300,000 people.=20
      <P>Likewise, between 1997 and 2002, the number of cosmetic =
procedures=20
      carried out in the US more than doubled, according to the American =
Society=20
      for Aesthetic Plastic Surgery. In 2002 alone, almost 6.9m =
procedures were=20
      performed, the top five being liposuction (372,831), breast =
augmentation=20
      (249,641), eyelid surgery (229,092), nose reshaping (156,973) and =
breast=20
      reduction (125,614). On top of these came non-surgical procedures =
such as=20
      Botox, collagen injection and chemical peels.=20
      <P>Apostolos Gaitanas, a specialist cosmetic plastic surgeon based =
in=20
      London, has also noticed a steady increase in demand for cosmetic =
surgery=20
      on these shores, estimating a rise of 10%-20% each year. One of =
his most=20
      popular procedures remains breast augmentation, which costs =
between =A33,700=20
      and =A34,200, depending on the size. "Most girls are wanting a =
large C to a=20
      small D," he says. "It takes about an hour, and they spend the =
night in=20
      hospital."=20
      <P>We are, says Thompson, "churning out fake repros of the human =
body,=20
      just like we did with the model T Ford." He recalls the advent of =
mass=20
      production, the cars flowing off assembly lines, and the =
introduction of=20
      the Levitt-town suburbs, where, "one model house was produced many =
times=20
      over, in contrast to former notions of architecture, which was all =
about=20
      building a single building with a name. Now you had this notion =
that this=20
      stuff was totally anonymous." Thompson's comparison rings eerily =
true. It=20
      seems the cosmetic assembly lines of the west are manufacturing =
batch=20
      after newly pressed batch of identical blond, buxom, snake-hipped =
and=20
      trout-pouted women.=20
      <P>"Plato would have absolutely loved it," Thompson laughs. "He =
had the=20
      idea that out there in the heavens there was the perfect example =
of, say,=20
      the apple, and that every apple on earth was an imperfect copy of =
that=20
      apple. But now technology is allowing us to enter Plato's heaven." =

      <P>The antithesis of cosmetic surgery is arguably self-harm. =
Figures from=20
      the Mental Health Foundation show rates of self-harm admissions =
have=20
      increased dramatically in the UK over the past 20 years. As many =
as one in=20
      10 young people deliberately self-harm, and the number of =
admissions of=20
      young men harming themselves has almost doubled since the 1980s. =
In=20
      Welcome To The Desert Of The Real, Slavoj Zizek argues that =
self-harm, or=20
      cutting, "represents a desperate strategy to return to the real of =
the=20
      body... Far from being suicidal, far from indicating a desire for=20
      self-annihilation, cutting is a radical attempt to (re)gain a hold =
on=20
      reality." Certainly, the most potent image of self-harm is the =
photograph=20
      of Richey Edwards of the Manic Street Preachers, who had, into the =
flesh=20
      of his own forearm, carved the words "4 Real".=20
      <P>It can sometimes be difficult to distinguish the cosmetically =
enhanced=20
      individual from the real McCoy - after all, not all women with =
boob jobs=20
      look like Jordan; not all women with the genuine article are kind =
enough,=20
      like Jodie Marsh, to provide the relevant signage. A similar =
problem faces=20
      the grocery shopper. "Most processed foods contain flavourings, =
they're a=20
      ubiquitous ingredient," says Ian Tokelove, a spokesman for the =
Food=20
      Commission, "but people often don't realise how widely they are =
used,=20
      because they're not listed on the packaging."=20
      <P>In fact, there are 5,000 different types of flavour compound, =
falling=20
      into a variety of different categories: if your strawberry yogurt =
is=20
      labelled "natural strawberry flavour", it means it came from an =
actual=20
      strawberry. If it is labelled "natural flavouring", it means it =
came from=20
      a natural source - quite feasibly wood, which is a popular source =
of=20
      flavourings, and far cheaper than strawberries. Anything labelled=20
      "artificial flavouring" is obviously synthetic, and anything =
labelled=20
      "nature identical" is also synthetic, but even under a microscope =
you=20
      couldn't differentiate between that and the natural flavouring it =
mimics.=20
      <P>"Our big argument [against this] is that they're replacing real =
food=20
      with nutrition-free chemicals," says Tokelove. "Kids today are =
exposed to=20
      artificial ingredients from the start. A real banana tastes =
nothing like=20
      an artificial banana taste. But the artificial taste is stronger." =
And if,=20
      perhaps, you have been exposed to artificial banana for the =
majority of=20
      your young life, when you finally eat an actual banana it may come =
as=20
      something of a disappointment. It's less sweet, for starters, and=20
      secondly, it doesn't taste so intensely banana-y. Artificial =
flavours just=20
      taste louder, and more powerful.=20
      <P>"This whole era of fake has taken away the power of the =
original," says=20
      Thompson, in the tone of a man who doesn't believe this to be an=20
      altogether bad thing. "You could take the Mona Lisa and, =
relatively=20
      cheaply, reproduce it so the only people who would know the =
difference=20
      would be art experts. Why not," he suggests excitedly, "have a =
museum of=20
      fake art in every city?"=20
      <P>Earlier this summer, Tom Morton co-curated Bootleg, an art show =
at=20
      London's Spitalfields market. It showcased works by artists such =
as Cerith=20
      Wyn Evans, who displayed a pencil portrait of himself, drawn by a=20
      Leicester Square street artist, and Iain Forsyth and Jane Pollard, =
who=20
      showed a bootleg of a bootleg - a recreation of the early 1980s =
Cramps=20
      psychiatric hospital gig that has been circulating as a bootleg =
for years.=20

      <P>"The show's title was chosen for a number of reasons," says =
Morton. "I=20
      wanted it to speak of devalued things, like fake Louis Vuitton =
handbags,=20
      or the dodgy 'Rembrandts' in the dark halls of every minor English =
stately=20
      home, and things that are special precisely because they are =
bootlegs,=20
      like the illegal recordings of Smiths concerts available at Camden =
market.=20
      I also wanted to speak of the action of faking something - =
bootlegging. It=20
      seems to me that this action of faking has a political content." =
Morton is=20
      taking a swipe at that ol' bugbear, global capitalism. "At a time =
when=20
      western companies are aggressively pursuing consumers in =
developing=20
      nations, while taking advantage of these countries' cheap =
workforces, the=20
      production and purchase of fakes can be seen as a political act," =
he=20
      concludes, with a flourish.=20
      <P>Another jubilant faker is Eddy Temple-Morris who, along with =
fellow DJ=20
      James Hyman, presents The Remix on London's Xfm radio station. The =
show=20
      specialises in bootlegs, the fusing of two seemingly unrelated =
records to=20
      create a glorious hybrid. Perhaps the most well-known example was =
the=20
      bootleg that married Kylie's Can't Get You Out Of My Head with New =
Order's=20
      Blue Monday. Kylie herself performed this genetic mutation at last =
year's=20
      Brit Awards.=20
      <P>"If you buy a fake handbag or a fake CD or DVD, it's clear and =
obvious=20
      that the original is going to be better," says Temple-Morris, who, =

      incidentally, has a voice like an exuberant golden retriever. "But =
if you=20
      listen to our show, that's not the case - a record can be much =
better than=20
      the sum of its parts." He cites Freelance Hellraiser's A Stroke Of =
Genius=20
      - Christina Aguilera vs The Strokes, as a prime example. "The fact =
is it's=20
      loads better than Aguilera who provides the vocals, and even loads =
better=20
      than those New York trustafarians The Strokes." The next one to =
listen out=20
      for, he advises, is Ray Of God, which melds Madonna and the Sex =
Pistols.=20
      "It's only two minutes, and it totally captures the energy of =
punk. It's=20
      actually had the thumbs up from both Madonna and John Lydon." The =
big=20
      record companies are irked by this behaviour but Temple-Morris is=20
      unrepentant. "It's outshining stuff that record companies are =
spending=20
      thousands of pounds on," he says gleefully. "It's power to the =
people!"=20
      <P>They started the show three years ago. Now, they are inundated, =

      receiving nigh-on 200 bootlegs a week. They delight in their=20
      non-hierarchical attitude to the mixes they play. "We'll play =
something a=20
      15-year-old called Podgemaster, who's been listening to the show =
since he=20
      was 12, has made in his bedroom, followed by something Fatboy Slim =
has=20
      made in his slightly bigger bedroom in Brighton," he chirrups.=20
      <P>Does he think of the records as fakes? "No," he says =
instinctively, and=20
      then pauses. "It's like a kid is just a genetic mix of two =
parents. And in=20
      many cases, the child outshines the parents." Perhaps the only way =
to=20
      accomplish the real is to unapologetically fake it.=20
      <P>"One could argue that US popular culture plays an important =
role in=20
      popular culture around the world," says Thompson. "One could also =
argue=20
      that US culture is characterised by its artificiality... that the =
entire=20
      New World settlement was, from the beginning, a blurred copy of =
the world=20
      it left behind. From the beginning the New World revelled in the =
invented,=20
      the fake, the synthetic. The urge to annihilate history and =
reinvent self=20
      has given rise to a society of the simulacrum."=20
      <P>Arguably, this "society of the simulacrum" has been forged =
largely by=20
      capitalism's agenda to increase our desire to consume. The more =
these=20
      fakeries are marketed as necessary to our lives, the more we will =
spend to=20
      acquire and uphold them. So one might envisage that there might =
be,=20
      entwined with the surge of anticapitalist and indeed anti-American =

      feeling, a movement against the fake; a resurgence of the real.=20
      <P>Certainly Boyle would argue that this is the case, citing as =
evidence=20
      the thirst for "natural" and ethically sound products, our =
increased=20
      desire to experience "authentic" tourism and the growth of the =
organic=20
      food movement. In 2001/02, UK organic food sales reached =A3920m - =
a 15%=20
      increase on the previous year. In the same period, the area of =
fully=20
      organic land in the UK increased by 91% from 240,000 hectares to =
458,600=20
      hectares. The real will rise again, shouts Boyle and, as a =
rallying call=20
      to arms against the artificial regime, he quotes John Betjeman's =
1937=20
      poem, Slough:=20
      <P><I>Come, bombs, and blow to smithereens</I> <I><BR>Those=20
      air-conditioned, bright canteens, </I><I><BR>Tinned fruit, tinned =
meat,=20
      tinned milk, tinned beans </I><I><BR>Tinned minds, tinned =
breath.</I>=20
      <P>Zizek, the social and philosophical commentator, would perhaps =
find=20
      this an apt quotation. He argues that, like self-harmers, a desire =
for=20
      reality manifests through a violent action. "Is not so-called=20
      fundamentalist terror also an expression of the passion for the =
real?" he=20
      asks. "Is not its goal also to awaken us, western citizens, from =
our=20
      numbness, from immersion in our everyday ideological universe?" He =
cites=20
      the attack on the World Trade Centre as the obvious example. He =
also=20
      suggests, however, that such a dramatic, violent action results in =

      something of a paradox - the action is not in itself reality, so =
much as=20
      providing a spectacle to draw attention to the real, or to quote =
Karlheinz=20
      Stockhausen, "the greatest work of art ever".=20
      <P>One could even argue that the seeming return to the real in the =

      increased passion for organic produce and natural foods is itself =
mere=20
      artifice. Perhaps it is just another way of making us buy things, =
the=20
      latest trick up the sleeve of capitalism, the words "organic" and=20
      "natural" placed, like dirty saucers, to make us feel as if we are =
getting=20
      the real.=20
      <P>With the majority of us born after 1930, we are of a generation =
weened=20
      on a diet of synthetic smells, tastes and colours. We have a =
dwindling=20
      connection with nature. The seasons pass us by in one long =
centrally=20
      heated, air-conditioned, unseasonally stocked blur. Even our =
experience of=20
      war is not guts and gore, but viewed on the small screen, with =
fancy=20
      graphics and fuzzy-edged news reports.=20
      <P>We expect to view life permanently in Technicolor and, when =
faced with=20
      the murky hues of reality, we cushion our disappointment with =
Prozac,=20
      psychoanalysis, talkshows. We have grown accustomed to the =
bountiful=20
      factory assembly lines, to the advertising hoardings and magazine =
spreads=20
      showing airbrushed fantasy homes, holidays, women. Our =
expectations of how=20
      life should be are bigger, brighter, bolder than reality could =
ever hope=20
      to be.=20
      <P>But is this necessarily such a bad thing? We've got =
strawberries that=20
      taste more strawberryish than the real thing; we've got bosoms =
that don't=20
      jiggle when we run for buses; we've got hair like Rapunzel, tans =
like=20
      Barbie, and records that supersede the songs they bastardise. =
Perhaps this=20
      is just a new era, a bootleg of the real, outshining its parents; =
perhaps,=20
      after all, this is a brave new world.</FONT><BR><!-- Vignette V/5 =
Sat Aug 16 02:37:47 2003 --><!-- Start article trailblock widget --><!-- =
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