― Stan Fields (Stan Fields), Friday, 24 September 2004 17:13 (nineteen years ago) link
― Free the Bee (ex machina), Friday, 24 September 2004 17:19 (nineteen years ago) link
― Michael White (Hereward), Friday, 24 September 2004 17:33 (nineteen years ago) link
― Lukas (lukas), Friday, 24 September 2004 17:41 (nineteen years ago) link
― chuck, Friday, 24 September 2004 17:52 (nineteen years ago) link
― {Sand in the [vaseline} on the lens] (x Jeremy), Saturday, 25 September 2004 01:03 (nineteen years ago) link
― daria g (daria g), Saturday, 25 September 2004 01:06 (nineteen years ago) link
― latebloomer (latebloomer), Saturday, 25 September 2004 04:04 (nineteen years ago) link
― major_duder, Saturday, 25 September 2004 21:45 (nineteen years ago) link
― Jarlr'mai (jarlrmai), Saturday, 25 September 2004 21:46 (nineteen years ago) link
― Richard C (avoid80), Saturday, 25 September 2004 21:50 (nineteen years ago) link
I don’t want a holiday in the sunI wanna go to the new BelsenI wanna see some historyCos now I gotta reasonable economy.
An attempt to hear this as the statement of an individual subject could interpret the first three lines as a discussion of a choice of holidays or other journeys, with ‘new Belsen’ remaining mysterious. The fourth line, however, makes this ‘naturalistic’ interpretation less tenable. States, not individuals, have ‘reasonable economies’. If this is an individual, his idiolect is being signified as exceptionally eccentric. ‘Ideolect’ is Barthes’ term for the ‘plurality and co-existence of lexicons [discourses – DL] in one and the same person, the number and identity of these lexicons forming in some sort a person’s ideolect’. But there is an alternative response to the lyrics of this first verse, one based on recognizing links between words and their connotations across rather than within the linear narrative. That is, words are connected by their membership of the same discourse in the world of communication beyond this particular song. Thus, the presence of ‘Belsen’ and ‘history’ suggests Nazism and the Second World War, while the addition of ‘reasonable economy’ sets up faint echoes of terms like the ‘German economic miracle’ (a media cliché of the 1960s and beyond to describe the rebuilding of West German prosperity). In this perspective, the lyric becomes something like a collage put together from the discourse of newspaper, advertising, pulp fiction, sensationalized history. Further verses and the chorus offer more material to support this response: ‘Berlin Wall’, ‘Communist Call’, ‘World War Three’ all make an appearance. To hear the lyric as the product of a unified psychological subject it becomes increasingly necessary to regard the lyric’s ‘disconnected’ narrative form as itself a symptom of a state of psychological disturbance. Verse 3 begins: ‘Claustrophobia, too much paranoia/There’s too many closets, when will we fall. . . .’ The final vocal passage of the record, delivered in a recitative manner, provides a third dimension to the mode of the énoncé:
I can go over the WallThis third rate B movie stuffCheap dialogue, cheap essential scenery
I’m gonna go over the Berlin WallBefore they come under the Berlin WallI don’t understand this bit at all (three times)Please don’t be waiting for me.
While line 1 can be read as part of a skeletal narrative scenario, as a sign of emotional intensity or as an example of Cold War obsessions with the Berlin Wall (including an ironic reversal of the conventional wisdom that people from East Berlin are those determined to climb the Wall), the next lines introduce a new point of reference. What is the ‘third rate B movie stuff’? – is this the (barely) unified psychological individual commenting on his own paranoia? Is it the producer of the ‘collage’ pronouncing on his raw material? Or is it a ‘performer’, a ‘Johnny Rotten’ making a comment about the words he has to sing, a comment which is returned to in the penultimate line: ‘I don’t understand this bit at all’? There is no ‘correct’ way to hear the lyric. Where it differs from the bulk of lyrics is that the ‘I’ of the enonce is not forced to be unitary. A phrase like ‘reasonable economy’ can thus float towards the complex of meanings suggested by the other political reference points dotted throughout the lyric. While Johnny Rotten’s voice, the enonciation, still offers the pleasure of identification with a unified position, a different kind of pleasure – that which enjoys the transgression of the codes through which conventional meanings are constructed – is available for listeners to the lyric.
― sundar subramanian (sundar), Saturday, 25 September 2004 22:18 (nineteen years ago) link
― AaronK (AaronK), Sunday, 26 September 2004 01:28 (nineteen years ago) link
― Rickey Wright (Rrrickey), Sunday, 26 September 2004 01:44 (nineteen years ago) link
― AaronK (AaronK), Sunday, 26 September 2004 20:43 (nineteen years ago) link
― j.lu (j.lu), Sunday, 26 September 2004 21:00 (nineteen years ago) link
― Dom Passantino (Dom Passantino), Sunday, 26 September 2004 21:03 (nineteen years ago) link
― gypsy mothra (gypsy mothra), Sunday, 26 September 2004 21:10 (nineteen years ago) link
― Velveteen Bingo (Chris V), Monday, 27 September 2004 10:57 (nineteen years ago) link
― Markelby (Mark C), Monday, 27 September 2004 11:14 (nineteen years ago) link
― Vicky (Vicky), Monday, 27 September 2004 11:39 (nineteen years ago) link
― Hanna (Hanna), Wednesday, 2 February 2005 15:25 (nineteen years ago) link
― Tuomas (Tuomas), Wednesday, 2 February 2005 15:28 (nineteen years ago) link
― elwisty (elwisty), Wednesday, 2 February 2005 15:30 (nineteen years ago) link
― mark grout (mark grout), Wednesday, 2 February 2005 15:33 (nineteen years ago) link
― beanz (beanz), Wednesday, 2 February 2005 15:49 (nineteen years ago) link
0
Calm (glassy)
1
Calm (rippled)
0 - 0.1
2
Smooth (wavelets)
0.1 - 0.5
3
Slight
0.5 - 1.25
4
Moderate
1.25 - 2.5
5
Rough
2.5 - 4
6
Very Rough
4 - 6
7
High
6 - 9
8
Very High
9 - 14
9
Phenomenal
over 14
― Pears can just fuck right off. (kenan), Wednesday, 2 February 2005 15:52 (nineteen years ago) link
― caitlin oh no (caitxa1), Wednesday, 2 February 2005 15:53 (nineteen years ago) link
Let faxes butter-curl on dusty shelves.Let junkmail build its castles in the hushof other people's halls. Let deadlines burstand flash like glorious fireworks somwhere else.As hours go softely by, let others cursethe roads where distant drivers queue like sheep.Let e-mails fly like panicked, tiny birds.Let phones, unanswered, ring themselves to sleep.
Above, the sky unrolls its telegram,immense and wordless, simply understood:you've made your mark like birdtracks in the sand -now make the air in your lungs your livelihood.See how each wave arrives at last to heaveitself upon the beach and vanish. Breathe.
Ros Barber
― Archel (Archel), Wednesday, 2 February 2005 16:06 (nineteen years ago) link
― DAEREST V1CE MAGAZINE!!!!! (ex machina), Friday, 17 June 2005 02:13 (nineteen years ago) link
― Orbit (Orbit), Friday, 17 June 2005 02:15 (nineteen years ago) link
― the leglo (the leglo), Friday, 17 June 2005 02:16 (nineteen years ago) link
― Rock Hardy (Rock Hardy), Friday, 17 June 2005 02:17 (nineteen years ago) link
― giboyeux (skowly), Friday, 17 June 2005 04:42 (nineteen years ago) link
― L'Histoire d'Eric H. (Eric H.), Friday, 17 June 2005 07:43 (nineteen years ago) link
― Slumpman (Slump Man), Friday, 17 June 2005 08:48 (nineteen years ago) link
― Ark Hopping (avoid80), Friday, 17 June 2005 08:49 (nineteen years ago) link
― Dom Passantino (Dom Passantino), Friday, 17 June 2005 08:54 (nineteen years ago) link
― Come Back Johnny B (Johnney B), Friday, 17 June 2005 09:01 (nineteen years ago) link
― grimly fiendish (grimlord), Friday, 17 June 2005 09:12 (nineteen years ago) link
After creating a demo edit for playing out at gigs earlier in the year and receiving a thumbs up and some prime time airplay from XFM DJ and Remix guru Eddy Temple-Morris, GO4 guitarist Andy Gill (who heard Eddy's show) put their recently re-recorded version my way, for an official remix.
The band have been excited enough with the GHP mix to release it as the b-side of their next single (an imminent 7-inch re-release of 'To Hell With Poverty') and it will also be on the new Gang Of Four album due at the end of August on V2 The new Gang Of Four album (provisionally titled 'The Embarrassment Of Paleface') will be a 2 CD release. The first being newly re-recorded selections from their first 3 albums and the second CD is a collection of new remixes by artists who have been influenced over the years by GO4.Alongside the Go Home Productions mix, there will be remixes by No Doubt / Beck / Moby / Massive Attack / The Futureheads / Bloc Party / Hot Hot Heat / Yeah Yeah Yeahs / Ladytron / Dandy Warhols and more tbc.
― mark grout (mark grout), Friday, 17 June 2005 09:14 (nineteen years ago) link
― colette (a2lette), Friday, 17 June 2005 09:21 (nineteen years ago) link
― Snowy Mann (rdmanston), Friday, 17 June 2005 09:24 (nineteen years ago) link
― Frogm@n Henry, Friday, 17 June 2005 09:25 (nineteen years ago) link
Augé, Marc. Non-Places: Introduction to an Anthropology of Supermodernity. Trans. John Howe. London and New York: Verso, 1995.Bentham, Jeremy. Panopticon: or, The inspection-house. Dublin: Thomas Byrne, 1791.Foucault, Michel. Discipline and Punish and The Order of Things, excerpted in Julie Rivkin and Michael Ryan, eds. Literary Theory: An Anthology. Oxford: Blackwell, 1998.Pascoe, David. Airspaces. London: Reaktion Books, 2001.
Online sources
http://www.geocities.com/Baja/5692/ http://www.cuug.ab.ca:8001/~busew/dia.html [From http://www.cuug.ab.ca:8001/~busew/dia.html]A few [Denver International] airport Facts:SIZE: 53 square miles, largest U.S. public works project.AIRLINES: Nineteen airlines, with United Airlines accounting for about 65% of the traffic.FLIGHTS: About 1,300 flights and 88,000 passengers a day.EFFICIENCY: World's only airport designed to accommodate three streams of aircraft simultaneously in bad weather.CONTROL TOWER: The tallest in the U.S. at 327 feet, giving controllers unequaled views of aircraft and weather.GROUND GUIDANCE: A lighting system built into runways and taxiways guides pilots to their concourse gates, helping to eliminate pilot confusion on the ground.EMPLOYEES: About 23,000 airport workers, from pilots to sky caps.SECURITY: More than 750 closed-circuit TV cameras monitor airport premises.TRAIN SYSTEM: $84 million underground rail between terminal and three concourses.
Terminal Highlights:NAME: Elroy Jeppesen after aviation pioneer whose navigational maps and charts are standard in aircraft.SIZE: Three stories, 1.5 million square feet, 126-foot central atrium.TENT: $37 million, 15-acre tent roof held up by 34 masts, supported on 10 miles of steel cable, 30,000 clamps.ART: Includes 28 ceramic balustrades, bronze statue of Jeppesen, "Spirit of the People" exhibit.
― sgs (sgs), Friday, 17 June 2005 09:37 (nineteen years ago) link
― Markelby (Mark C), Friday, 17 June 2005 09:47 (nineteen years ago) link
― Onimo (GerryNemo), Friday, 17 June 2005 09:56 (nineteen years ago) link
― gabe (gabe), Friday, 17 June 2005 10:00 (nineteen years ago) link
― Pete (Pete), Friday, 17 June 2005 10:14 (nineteen years ago) link