Tag: Historical Fiction

Tom Smith – “Bermuda Triangle”

I’ve written about a Tom Smith song before, but today I was reminded of a much older song that also deals with a more-than-two shipping, of a combination of historical and fictional figures. In the 1997 song, “Bermuda Triangle,” the narrator settles down with Amelia Earhart. He describes  meeting her where he has crashed in the Bermuda Triangle and the grand party going on there:

Who’s that walkin’ on down the line?
It’s Amelia Earhart, she’s lookin’ fine,
She said, “Hey there, big boy, wanna go flyin’?”
I said, “Oh, mama, get me to the church on time!”

Bottle of wine, wheel of cheese,
Amelia on my lap and my hands on her knees.
She said, “Hey, now, my boyfriends’ll be back soon,
The Swamp Thing and the Creature from the Black Lagoon….”

However, this description is not to warn the narrator off. As he later describes:

And I’ve been found in the Bermuda Triangle,
Ain’t nothing ever been so right,
I’m playing poker tomorrow with Ambrose Bierce and Che Guevara,
And Amelia’s by every night.

While shipping Amelia Earhart with the Swamp Thing and the Creature from the Black Lagoon is of course fiction, a fan-ship OT3 of sorts, the plot has some basis in reality, as our friend polyinthemedia.blogspot explains over at Polyamory in the News. Correspondence from Amelia Earhart to her eventually-husband George Putnam show her negotiation for what we might call an open marriage, one in which through honesty the pair can avoid any “difficulties […] should you or I become interested deeply (or in passing) in anyone else.”

Lovely all around.

Let’s Talk about Swinging in the 1970s

This post is a twofer, addressing both That 70s Show and the shortlived series Swingtown. Both are early 2000s (in the case of That 70s Show, starting in late 1990s. For the tags, I’m going to mark it as 2000) representations of a particularly type of non-monogamy in the 1970s.

First, what is Swinging? “Swinging,” in the 1970s US, was associated with terms like “wife-swapping” and “key parties.” In short, it refers to situations in which two (or usually, more) heterosexual couples form a socio-sexual network in which people within the network have a emotional relationships with one person (their spouse) but sexual relationships with others who have their own separate emotional relationships. In theory, relationships with non-spouses were purely sexual, and served no threat to the emotional monogamy of the marriage. In practice, oral history evidence suggestions, this was not necessarily the case. However, it was not exactly the free love movement that it is often portrayed to be.

Indeed, the actual swinging movement of the 1970s differs significantly from the portrayals we are about to explore, which say more about writers and viewers in the 1990s-2000s than the swingers’ in the 1970s.  A 1971 one study locates swinging among “basically middle-class, and essentially conventional people,” with a “somewhat bureaucratized and decidedly unfestival-like quality (Walshok, p. 490).  This study stresses the “one dimensional quality of middle-class deviancy,” in that swingers participate only in swinging, and in no other marginal behavior (Walshok, p. 492).  “Only occasionally,” it explained, “are swingers found at the forefront of movements for such things as abortion reform of changing legislation pertaining to homosexuality (Walshok, p. 494).”

What about in these 70s themed shows? Spoilers below the cut.

For more on this topic, see this AV Club post on “Surprise TV Encounters with the Polyamorous.” Good stuff.

Continue reading “Let’s Talk about Swinging in the 1970s”

Call The Midwife – “Season 2, Episode 3”

File this one under: I will return to discuss it in more detail later.

One of the most recent pieces I have seen: in Call the Midwife, Season 2, Episode 3 (2013), the midwifes attend to the birth of a woman who shares a husband with her twin sister as the two of them have been inseparable since birth. One of those most remarkable things about this episode is how UNREMARKABLE the arrangement is. The main characters remark on it, sure, but it’s just another day. In fact, every day (every episode) in Call the Midwife shares a common theme, that love comes in all shapes and sizes. Polyamory is the Monster of the Week, but ALL the Monsters of the Week are about love so it is in fact more of the Love of the Week. I’ll detail the relationship more later, but suffice to say it is full of love and is presented as very much the sisters’ choice.