Alternative titles:
- Bathroom 51
- X Flies
- Kinkiest threesome ever
- "Honey, are you sure the child is mine?"
I struggled getting started writing this week's 90MM because I don't actually have the vocabulary to describe The KLF.
I started off trying to write something comparing them to that scene in [insert name of practically any teen movie here] in which the cool kids are pretending to agree with the uncool kid but actually they're just taking the piss out of them - but that didn't quite work.
Then, worrying that I was revealing a bit too much of my not-so-secret enjoyment of trashy teen movies, I thought about Marcel Duchamps and his dubbing of a urinal 'art' and what it meant when one of the leading lights of art starts, if not rejecting the concepts but at least examining the more self-evident absurdities.
Then I started off on a tract about style-vs-fashion and how some people are able to make whatever they do look good no matter what.
What it comes down to though is that Bill Drummond and Jimmy Cauty in their incarnations as The KLF, The Kopyright Liberation Front/Kings of the Low Frequencies, The Jams, the Justified Ancients of Mummu, The Timelords, The K Foundation, One World Orchestra, 2K etc etc managed to simultaneously mock the whole music and art industry whilst also changing the entire face of the industry and putting out storming, anthemic tracks like this
and this
They practically invented the modern bootleg with "Whitney Joins The JAMs" whcih mashed "Mission: Impossible" samples with Whitney Houstons "I wanna dance with somebody". Then, as The Timelords they deliberately wrote a nauseatingly catchy "lowest common denominator, something that Timmy Mallet would understand" song which took samples from Doctor Who and crashed them into Garry Glitter's "Rock and Roll (Part 2)" and The Sweet's "Blockbuster!" with the explicit intention of getting a number 1 single. Which they did with "Doctorin The Tardis". Then they wrote a book called "The Manual (How to have a number 1 the easy way)" which told you how they did it and gave the guarantee that if you followed the book to the letter and didn't get a number 1 they'd refund the cost of the book.
They 'retired' in the most spectacular form possible - at the 1992 Brit Awards they performed a live "violently antagonistic performance" of "3 A.M Eternal" in front of "a stunned music-business audience" with crust punk group Etreme Noise Terror. Prevented from throwing buckets of Sheep entrails over the audience a bekilted Bill Drummond theatrically limped on stage and fired blanks from a machine gun into the air
After which they burnt their last million pounds on the Isle of Jura and filmed it.
Every time someone tries to tell you that Green Day or Limp Bizkit or Sum 41 or god-forbid Avril Lavigne are punk I want you to think of this. I'm not saying that their music is bad necessarily I'm just saying that if some one tries to straight faced tell you that those or similar artists are "punk" then I want you to cock slap them. I want you to physically either punch them in the penile or vaginal area and/or lay about their face with your penis or other similarly degrading appendage - work with what both you and they have people. Get creative. Make sure they REALLY TRULY understand.
Because it's important.
Except when it's not.
The streets were pretty quiet, which was nice. They're always quiet here
at that time: you have to be wearing a black jacket to be out on the
streets between seven and nine in the evening, and not many people in the
area have black jackets. It's just one of those things. I currently live
in Colour Neighbourhood, which is for people who are heavily into colour.
All the streets and buildings are set for instant colourmatch: as you
walk down the road they change hue to offset whatever you're wearing.
When the streets are busy it's kind of intense, and anyone prone to
epileptic seizures isn't allowed to live in the Neighbourhood, however
much they're into colour.
- Michael Marshall Smith, "Only Forward"
It gives me great pleasure to announce the release of Perl 5.11.2.
This is the third DEVELOPMENT release in the 5.11.x series leading to a stable release of Perl 5.12.0. You can find a list of high-profile changes in this release in the file "perl5112delta.pod" inside the distribution.
You can download the 5.11.2 release from:
http://search.cpan.org/~lbrocard/perl-5.11.2/
The release's SHA1 signatures are:
2988906609ab7eb00453615e420e47ec410e0077 perl-5.11.2.tar.gz
We welcome your feedback on this release. If you discover issues with Perl 5.11.2, please use the 'perlbug' tool included in this distribution to report them. If Perl 5.11.2 works well for you, please use the 'perlthanks' tool included with this distribution to tell the all-volunteer development team how much you appreciate their work.
If you write software in Perl, it is particularly important that you test your software against development releases. While we strive to maintain source compatibility with prior stable versions of Perl wherever possible, it is always possible that a well-intentioned change can have unexpected consequences. If you spot a change in a development version which breaks your code, it's much more likely that we will be able to fix it before the next stable release. If you only test your code against stable releases of Perl, it may not be possible to undo a backwards-incompatible change which breaks your code.
Notable changes in this release:
- It is now possible to overload the C operator
- Extension modules can now cleanly hook into the Perl parser to define new kinds of keyword-headed expression and compound statement
- The lowest layers of the lexer and parts of the pad system now have C APIs available to XS extensions
- Use of C<:=> to mean an empty attribute list is now deprecated
Abhijit Menon-Sen, Abigail, Ben Morrow, Bo Borgerson, Brad Gilbert, Bram, Chris Williams, Craig A. Berry, Daniel Frederick Crisman, Dave Rolsky, David E. Wheeler, David Golden, Eric Brine, Father Chrysostomos, Frank Wiegand, Gerard Goossen, Gisle Aas, Graham Barr, Harmen, H.Merijn Brand, Jan Dubois, Jerry D. Hedden, Jesse Vincent,
Karl Williamson, Kevin Ryde, Leon Brocard, Nicholas Clark, Paul Marquess, Philippe Bruhat, Rafael Garcia-Suarez, Sisyphus, Steffen Mueller, Steve Hay, Steve Peters, Vincent Pit, Yuval Kogman, Yves Orton, and Zefram.
Many of the changes included in this version originated in the CPAN modules included in Perl's core. We're grateful to the entire CPAN community for helping Perl to flourish.
Jesse Vincent or a delegate will release Perl 5.11.3 on December 20, 2009. Ricardo Signes will release Perl 5.11.4 on January 20, 2010. Steve Hay will release Perl 5.11.5 on February 20, 2010.
Regards, Léon
House music has always veered between having a sense of humour about itself and being thoroughly up its own arse. Tracks have trodden the very thin line between novelty, kitsch and playfulness - witness the differences between The Prodigy's "Charlie" (which, even at 180bpm, sounds twice as slow now as it did in my head at the time), Urban Hype's "Trip To Trumpton" and plummeting to new depths with Doctor Spin's "Tetris".
Set against this backdrop was N-Trance who are an odd datum on the arc of early to mid nineties techno. Their first demo was an (unreleased?) rave version of the theme tune to kids' tv program "Roobarb and Custard" but in '92 they put out "Set You Free" - a genuine, euphoric, hands in air rave anthem.
and then the slightly less goofy (but only just) with their take on Rod Stewart's "Do Ya Think I'm Sexy?"
But more on that next week ...
Also: by date myself I mean - "give clues as to my age" not "pick myself up, take myself out to dinner and then hence to watch a movie before attempting to indulge in a little light self-frottaging and then ending the evening early because I have a headache and I have to get up early and telling myself that I really like me but I'm not really in a relationship place right now"
Gosh, I'm glad we got that cleared up.
Apparently #musicmonday is a trending topic on the Twitters - bunch of bloody Johnny Come Latelys. Some of us have been here every Monday morning (for various definitions of 'every', 'monday' and 'morning'), mining the rich vein of at-least-a-decade-old music for nuggets and gems to present you with. Although I'll concede that it may be closer to a family cat, possibly elderly and constantly smelling faintly of urine, 'presenting' you with a the mutilated carcass of a songbird than to a lover presenting you with a platter of the finest silks, gems and perfumes purchasable.
Either way - I forge on, secure in the knowledge that I'll be here long after those young whipper snappers have got tired and moved on to new things.
Anyway - my American friends will be blissfully unaware that for British soap operas are completely unlike their Yankee brethren. For a start there are no impossibly glamorous people or complicated plots involving hitherto unknown twin siblings, murders and lengthy comas. Or vampires. No British soaps, such as "East Enders" are mostly populated by grim, ugly people living grim, ugly lives in grim, ugly surroundings. See this comparison for example:
Anyway, when we want to import a little glamour we instead turned to two Australian soaps - "Neighbours" (24 years old this year) and "Home and Away" (22 years old this year). I mean, when I say glamour it's still no "Stairwells of Time" they're are still set in mundane locations - a Melbourne suburb and small, coastal town near Sydney respectively - after all, and the people them selves are pretty ordinary.
But they boast a startlingly accomplished and wide spread alumni amongst the cast. Probably the most famous, is of course, Ms Kylie Minogue, now so famous that her surname has withered and dropped off with disuse, like an unused appendix. Kylie played tomboyish greasemonkey Charlene Ramsey in Neighbours
Which is, to say, you probably didn't realise it but there are Australians everywhere. Do you really know your friends and neighbours? Do they ever casually "chuck" a "shrimp" on the "barbie"? Do you ever see them with faint traces on zinc on their noses? These and more may be an indication that you have an Australian infestation. You have been warned.
Anyway - so on to the main point of this increasingly rambling and incoherent post. 90s music. And Australians. Who were in soap operas.
Oh, look it's adorable elfin faced pixie Natalie Imbrugliagaliagala looking all quirky and alternative
Christ, bet you'd never thought you'd find a musical blog which mentioned Natalie Imbruglalalaiglia and Wolfsheim in the same post.
Anyway, somewhat little known fact - Ms Imbruglaglaglala didn't write (and by 'write' I mean, 'was given the song by one of the 5 pop composer supremos who secretely write about 90% of stuff that's in the charts these days') "Torn" it was originally a 1991 track by a Swedish band called Ednaswap
which was then covered by Danish singer Lis Sørensen as "Burnt" in 1993 (in Danish - listen to it, it will mildly freak you out)
Of course the best version ever done was Johann Lippowitz's mime version
Hello pumpkins! I haven't forgotten you, I swear! It's just been an odd end to the year and I have been having a bit of a hiatus from photography - wedding and street-wise. It was much needed, but what can I say - I have now started to have a lovely tickle to actually want to lift a camera up and start taking some photos again. :) So, watch this space, as the film is in my Holga 35mm and I'm back on the streets of London!
OOPSLA 2009 happened a few weeks ago. OOPSLA stands for Object-Oriented Programming, Systems, Languages & Applications and I've always been quite interested in the conference. The proceedings of the conference aren't put online, but I've managed to find two interesting papers:
A Market-Based Approach to Software Evolution (PDF) tries to imagine an open market which is targetted around fixing bugs and improving software. It's quite interesting as it's quite similar to a proposal from Nicholas on spending other people's money. The authors point out many potential flaws.
The Commenting Practice of Open Source (PDF) analyses projects on Ohloh and tries to spot commenting trends. "We find that comment density is independent of team and project size", but they find that it varies from language to language. "Java has the highest mean of comment lines per source lines at.. one comment line for three source code lines" and "Perl has the lowest mean with.. one comment line for nine source code lines". They list as future work to find out why this might be the case.
