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Mere Innocents? ... Clowns of the Apocalypse?
You be the judge as Lemmy and Figgy perform "Lulu's Back in Town"
Once upon a time, I worked in one of those “High Fidelity”-ish record shops. In fact, I worked in three of them over the course of about 12 years. If you ever bought something from me or my co-workers, you can be assured that we said horrible things about your choices the second you walked out the door. (Except for that one guy named Sean who had impeccable taste in everything and who later became a heroin addict and then stopped buying records, overdosed and disappeared into a Christian rehab. We thought he was awesome.) But when you work in a place like that for long enough, you realize something very important about popular music. And here it is: everything sucks. (the rest here)
If you wanted to make a list of major contemporary artists who, for whatever reason, are comparatively little known in the U.S., Roman Signer should be right near the top. During the past few years there has been a surge of interest in his work in Europe, but he has exhibited rarely in the U.S., and his work has been written about even less. This neglect is unfortunate, because since the early 1970s, Signer, now 62 years old, has been developing an extraordinary body of work, consisting of brief, transitory pieces and durable sculptures that are evidence of a process as well as an event, along with drawings and endless documentation. Many of his projects mix an air of quasi-scientific research (although of a decidedly homemade variety) with an impish, pranksterish humor. Sometimes this "research," this desire to see what happens if a brief chain of events is set into motion, can be wildly funny, with slapstick mishaps, moments when things break down or veer off unexpectedly into mini-disasters. For Sink (1986), a table, each of its legs in a metal pail, sailed forth on a precarious voyage into a river, only to tilt and sink two minutes later in a kind of tragicomic denouement--certainly among the most short-lived, fragile and awkward outdoor sculptures that you are ever likely to see. At other times, Signer's events-as-sculptures yield images so beguiling that it's easy to forget that they were more or less instantaneous and not painstakingly made over weeks or months. For Falling Barrel (1996), a metal barrel filled with water was dropped from the ceiling to the floor. As the barrel plummeted, silvery water flew up in a ragged column, and at the point of impact more water jetted from the barrel's punctured side. The whole ensemble, including a rising and falling spray of droplets and the thudding impact that contorted the barrel, is heartbreakingly beautiful--and it also took about one second to execute, tops. That's Signer at his best: a sculptor whose works embody pure transformation. Using a variety of means, he constantly seeks out the exact volatile moment when one body or form abruptly changes into another, in the process fusing creation and destruction. (the rest)
How can a family ‘live at the center of its own attention?’
Wendell Berry’s thoughts on the good life
BY HOLLY M. BROCKMAN
If you profess to embrace family values and you shop at Wal-Mart, think again. The global economy, powered by big corporations such as Wal-Mart, destroys families with low prices made possible by low wages.
Fuck you, war supporters, George W. Bush, and all the god damn mother fuckers who made the war possible. I hope you burn in hell.
(read the rest here)