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       #Post#: 422--------------------------------------------------
       FINGERPRINCE (Project of the Week for 15th of May)
       By: moleshow Date: May 15, 2017, 11:06 am
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       i feel like this album is an album for hotter, sunnier days.
       and the days are hot and sunny.
       #Post#: 423--------------------------------------------------
       Re: FINGERPRINCE (Project of the Week for 15th of May)
       By: moleshow Date: May 26, 2017, 12:05 am
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       (i forgot to mention that this one is extended because i need
       some time to think on what to do for upcoming PotWs.)
       #Post#: 424--------------------------------------------------
       Re: FINGERPRINCE (Project of the Week for 15th of May)
       By: CheerfulHypocrite Date: May 28, 2017, 11:29 am
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       [quote="The Residents"]
       Man, represented as a primitive humanoid, is consumed by his
       self-created environment only to be replaced by a new creature,
       still primitive, still faulty, but destined to rule the world
       just as poorly.[/quote]
       It was 1979. January. Sid Vicious (aka John Beverly, aka John
       Simon Ritchie 1957-1979) had not long, allegedly, murdered Nancy
       Spungen (1958-1978) and was not long for this world;  and,
       Britain was in the throes of the Winter of Discontent. On
       January the 10th, the S_n headline is 'Crisis? What Crisis?'. A
       headline which was part of a campaign against Prime Minister
       James Callaghan (Baron Callaghan of Cardiff 1912-2005). By May,
       the Labour Government would be replaced by the proto-Fascist
       Government of Margaret Thatcher (Baroness Thatcher 1925-2013).
       In the United States of America, on January the 25th, the first
       robot killing of a human - Robert Williams (1953-1979), in Flat
       Rock Michigan - was recorded while the Star Club in Hamburg
       reopened.
       In 2006, about thirty years after the release of Fingerprince
       and twenty years after Sid and Nancy: Love Kills I was sitting
       in The Egg Cafe in Newington, Liverpool. Alex Cox (1954-) had
       arrived for tea, coffee or even just privacy. There was an Art
       exhibition on - because that is what Cafe's do: food and art.
       One of the pieces was conceptual. Written on the wall in black
       marker pen were conceptual art slogans by "Lisa Jane Galloway".
       In a fit of why not, a conspiracy - not involving Cox - was
       hatched to steal the concepts. With some white emulsion paint, a
       camera and the assistance of an employee of The Egg the deed was
       complete. The Words were photographed, the walls were painted
       and ransom notes were issued.
       [center]
  HTML http://www.theguideliverpool.com/wp-content/uploads/2015/11/EGG-BOLD-STREET-THE-GUIDE-LIVERPOOL.jpg[/center]
       [center]Outside The Egg[/center]
       The theme tune to the adventure was Six Things To A Cycle.
       played on a portable record player that seemed to use a steel
       arrowhead as a needle. The thirty year old copy of Fingerprince
       was destroyed. But this was a worthwhile trade to achieve the
       world's first Conceptual Art Theft.
       [center]
  HTML http://www.sheriffhill.com/wp-content/uploads/2015/02/IMG_0442.jpg[/center]
       Back in 1979, things were hotting up. Liverpool in the 1980s
       would become the front line of a class war. A working class city
       stood up to a manifestly unfair and provocative Conservative
       Government and fought for its survival. Naturally, the
       Government Won. But anybody who was part or party to the events
       was indelibly altered. Nobody becoming a Master Conceptual Art
       Thief could have a personal history that would fail to include
       1979 Liverpool or 1987 Liverpool or 1981 Liverpool or all three.
       The Truth was that the City had summoned forth demons.
       [quote="Godsong"]
       God never really did like man
       anyway
       At least not after they started
       walking around on their hind legs
       And talking on the
       telephone
       [/quote]
       [center]
  HTML http://c1.staticflickr.com/2/1019/556902797_df36c0f224_z.jpg[/center]
       [center]Outside The Piggeries[/center]
       These demons were listening to all sorts of things and doing all
       sorts of things. It was an era of transition from the violent
       thuggishness of Punk - which ended on the death of friends from
       heroin. Death is always the way to end an era. The Piggeries
       were a group of Blocks Of Flats: Haigh Heights, Canterbury
       Heights and Crosbie Heights. Built in 1965 and almost derelict
       by 1972, they were the home to people that the City Council
       considered to be a criminal underclass. Council employees
       entirely blamed the tenants for the conditions in the Piggeries.
       Talking to someone who had worked in the local Repairs Office,
       on Shaw Street, it became clear that that was never  going to be
       the whole story. Shaw Street Offices were the area focus for
       repairs and decoration of council owned properties. Naturally,
       works were prioritised as they came in. Requests for Piggeries
       repairs were put in a specific box. At the end of the day the
       specific box was emptied into the bin. If you happened to be
       female, 23, living in a squat in the Piggeries and get raped,
       heroin is a superb method to end it all. It allows the coroner
       to record a verdict of "death by misadventure". Which is
       entirely reasonable as hypothermia while a white out induced by
       heroin is marvellously misadventurous.
       [center]
  HTML https://asenseofplaceblog.files.wordpress.com/2014/10/piggeries-3.jpg[/center]
       [center]Further Outside The Piggeries[/center]
       The demons were primitive humanoids in a self created
       environment. The tubular bells of You Yesyesyes Again with the
       pause at the end before a sneeze - which may, or may not, have
       been imagined - were the favourite bit, - along with the howler
       monkey introduction of Six Things To A Cycle - of Kathy. She was
       strange, provocative, older, kissed women and enjoyed herself.
       Six Things To A Cycle might well have been her favourite piece
       of music - but you could never tell. She listened to an endless
       series of pawned records ranging from Tangerine Dream to
       Hawkwind to Sex Pistols and Blondie with oddities like the
       Residents in between. It took over two weeks for me to discover
       she was dead. Nobody went into the Piggeries - she would always
       meet people outside the blocks.
       Six Things To A Cycle was always good for clapping along to.
       Forget the idea that music has to have melody or orchestration,
       clapping was the future. Clapping and chanting. It was about
       1999 that I heard Kecak - Balinese Monkey Chants. But that is
       what we were doing to Six Things To A Cycle in 1979. Chanting.
       In 1988 I watched Akira and was assured it had chanting in.
       Which is not something I believed. The Chanting to Six Things To
       A Cycle was different. Improvised. Private. Personal. Something
       that makes Goodbye Sober Day by Mister Bungle seem that tiniest
       bit like Top Of The Pops. Six Things To A Cycle was the source
       of endless improvisations. Not only in noise making but in being
       an audience.
       Detatched from the original three sided work, Fingerprince was
       an imperfect creature in a self ceated environment -
       foreshadowing Eskimo and hinting at the complexity of the world
       rather than showing it in the manner of The Gingerbread Man or
       Bad Day On The Midway. Much like other works that preceded the
       machine mediated creations that, almost, begins with Eskimo,
       Fingerprince is a manually assembled collage in the tradition of
       the Situationist International. A work that is simultaneously
       psychogeographical - or, by analogy, psychoanthropological - and
       incomplete. The absence of the Babyfingers section never really
       impinged on any kind of understanding of the whole work.
       The music you think of as being the favourite of someone who has
       died has a strange, potent, sentimentality. Memory begins right
       now and stretches backwards into time, in reverse, and so you
       spend more time storytelling than recalling. It might well be
       that the memories and the implications of the memories have
       simply melded into a narrative that sprang, incomplete and
       imperfect, from the experience of the music. Fingerprince was
       spattered with sounds that may or may not have been what they
       are recalled as being.
       [quote="March De La Winni"]
       La la
       La-la la-la
       La la
       La-la la-la
       [/quote]
       That seemed like a perfectly accurate quote of the lyrics for a
       track that turned out to be instrumental. While
       [Quote="Godsong"]
       One of His favorite things
       Was man's believing in Him, and then not believing in Him
       Believing in Him, Not believing in Him
       [/quote]
       which echoes
       [Quote="Tourniquet Of Roses"]
       And all that's left is something else
       There is no more to say
       Is no more to say now... Is no more to say...
       [/quote]
       Was, for some years, thought to be on Third Reich And Roll.
       Which makes little sense as it is perfectly reasonable stab at
       the kind of unifying lietmotiv that runs through Fingerprince.
       When the "restored" version on compact disc came into existence
       it highlighted how unreliable for fact the Residents really are.
       Back in 2006, the Words were stolen from the walls and an
       ultimatum issued to the Artist. Lisa Jane Galloway, it turned
       out, was not a single artist but collaborators using a nom de
       plume. The irony escaped me. Which is one of the main fobiles of
       memory: it is a form of irony that Kathy (1956-1979) would have
       railed and screamed at.
       Fingerprince has always been something I have listened to in
       sections, even thought it is supposed to be a complete work. It
       epitomises the house construction elements of the Theory Of
       Phonetic Organisation and sits in the caesura between the tape
       mangling era and the bit mangling era. Which was also between
       the end of the Victorian Era and modern Britain. Primarily, Six
       Things To A Cycle sounds like someone bashing home made
       instruments. Which appealed to the punk DIY ethos. The same
       ethos that would see thousands of British people take up a
       nomadic lifestyle in the 1980s. Ultimately giving rise to the
       Festival Culture of the twenty first century. Six Things To A
       Cycle was, undoubtably, more than merely the sum of parts. More
       than merely musical building bricks even as each section built
       around a minimalist theme worthy of John Cage (1912-1992) or
       Steve Reich (1936-) into something that is always worth clapping
       along to.
       In 1979 being Gay was not really an option. For men it was
       explicitly illegal and Lesbians did not exist - because,
       according to Queen Victoria (1819-1901) "Women did not do that
       sort of thing". Queen Victoria, it appears, banged like a barn
       door and took cannabis and morphine for period pains but thought
       same sex relationships would either frighten the horses or did
       not exist. The Vibrator was invented either by Romain Vigouroux
       (1831-1911) - using it at the Salpêtrière hospital, Paris 1878 -
       or Joseph Mortimer Granville (1833–1900) who documented how
       bringing women to paroxysm cured them of hysteria or sexual
       inversion. This was not a cure for being a lesbian in 1979. Even
       in 2017, r_pe is not actually a cure for being a Lesbian, nor
       heroin.
       Nor is memory a substitute for real people.
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