The Church Of Me
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Kissing in the churchyard, I know a righteous woman

Thursday, August 01, 2002

"... from the invisible inside, where I could neither see nor want the very thing that I have always been scared to have revealed on the scanner, by analysis - radiology, echography, endocrinology, haematology - a crural vein expelled my blood outside that I thought beautiful once stored in that bottle under a label that I doubted couldavoid confusion or misappropriation of the vintage, leaving me nothing more to do, the inside of my life exhibiting itself outside, expressing itself before my eyes, absolved without a gesture, dare I say of writing if I compare the pen to a syringe, and I always dream of a pen that would be a syringe, a suction point rather than that very hard weapon with which one must inscribe, incise, choose, calculate, take ink before filtering the inscribable, playing the keyboard on the screen, whereas here, once the vein has been found, no more toil, no responsibility, no risk of bad taste or violence, the blood delivers itself all alone, the inside gives itself up and you can do as you like with it, it's me but I'm no longer there, for nothing, for nobody, diagnose the worst..."

Except of course I AM still there, for everything, for you :-)

posted by Marcello Carlin Permalink
. . .
Now playing:

"Last night I had a dream about you
In this dream I'm dancing right beside you
And it looked like everyone was having fun
the kind of feeling I've waited so long

"Don't stop come a little closer
As we jam the rythm* gets stronger
There's nothing wrong with just a little little fun
We were dancing all night long

The time is right to put my arms around you
You're feeling right
You wrap your arms around too
But suddenly I feel the shining sun
Before I knew it this dream was all gone

Ooh I don't know what to do
About this dream and you
I wish this dream comes true

Ooh I don't know what to do
About this dream and you
We'll make this dream come true

Why don't you play the game?
Why don't you play the game?"

("Digital Love" by Daft Punk)

*that's how it's spelt on the CD sleeve.

The difference is that I do know what to do, and my dream is coming true - slowly but surely :-)

posted by Marcello Carlin Permalink
. . .

The Arcades project went through many kinds of existence between 1927 and 1939. It never achieved a completed form. What remains are vast quantities of notes, images, quotes and citations; capable of being ordered and reordered in endlessly different constellations. This site is the beginning of an ongoing experiment in just such a reordering, its increasingly multiple links between material bringing elements into new juxtapositions and hopefully generating new meanings out of the debris of the era of high capitalism. (Mind you, this could also just be an exercise in giving these materials an aura, an air of nostalgic mystery which already hangs around their appearance in this present, if not that of the 1930s). The titles below, which refer to the spaces and types of the arcade, are starting points which lead to different areas of the divertissement, which are themselves interlinked and lead further and back. It is possible to recross areas from many different directions. Each time, the material is brought into a new relation and in this, a new aspect of it emerges. As a point of arrival and rearrival, it is possible to return to this page from each area, but it is not necessary. The whole bricolage involves text and images and it is fairly graphic intensive.

Or at least will be when I can put graphics on this blog :-)

posted by Marcello Carlin Permalink
. . .
Now playing: "Let Me Off Uptown" by the Gene Krupa Orchestra, vocals Anita O'Day and Roy Eldridge.

AO'D: "Well come over here Roy and GROOVE ME!"

44 years before D'Angelo!

posted by Marcello Carlin Permalink
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"Snobbery and Decay" by Act (1987)

The last apnoeic but opulent death rattle from the "original" ZTT. Written and performed by Thomas Leer and Claudia Brucken (and respectively, "All About You" and the Propaganda "Duel"/"Jewel" double A are also contenders for this section). It attempts to attack '80s fake (? ask Baudrillard) concepts of glamour and meritocracy but, I think, ends up celebrating it and bathing in it.

What makes this great isn't just the contrast between the strident Koln tones of Brucken and Leer's reserved Edinburgh tremble, nor the direct quoting of Morleyisms ("mystery! obscenity!") or the un-cliche-ing of what were then already cliches ("Lifestyles of the Rich and Famous" with its "champagne dreams and caviar wishes" farewell, the toothy host grinning at you in your squat like the spider grins at the fly before swallowing it, "Obsession, just like Calvin Klein") but the production and orchestration. As if knowing that the aesthetic bailiffs are about to come in and replace the trombones and celli with Pete Waterman's Emulator, or worse, David Gedge's guitar. Everything is poured onto this last piece of defiant post-modernist pop, every remembrance of what Horn achieved distilled and displayed in garish, glorious colour, so much so that the orchestration threatens to drown the song itself, but instead contents itself with embracing it luxuriously. The different instrumental accompaniments to each chorus - the brief harp, the briefer "Look of Love Part 4" choir, the heartbreaking vibes at the final chorus. They are going for broke, and going to be broke(n). Lives flash before the petrified forest of their eyes. Their hearts run out of time. It must matter, even though the whole point of the record is that it doesn't matter.

It should of course have been a number one; in 1982 or 1984, or possibly even 1995, it probably would have been. But it was "real" Red Wedge or "unreal" PWL in 1987 so it sunk like the Lusitania, having torpedoed itself with its ambitions.

posted by Marcello Carlin Permalink
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