[kj] OT: Ugh: Sex Pistols to begin recording new songs, possibly new LP.... :(

[B. Oliver Sheppard]

Well, I would, but that sounds like the sort of thing like "poet" or 
"musician" that doesn't quite fit the "have to pay rent & bills" litmus 
test. But, yes, I think all bands should run their ideas first through 
me, personally. :)

Also, about branding, I am sorta sketchy on Factory, and I know GM and 
Ford logos were on advertisements and the like for decades and decades. 
Obviously the first Crass EP (technically an EP but the size was 
LP-length; they did it to hold costs down and pioneered the "Pay No More 
Than.." thing you USED to see on punk LPs) was on Small Wonder, not 
Crass Records, though they had had Exitstencil Press -- which did the 
military stencil grafitti tagging, for a number of years before '78, 
maybe as early as '75, when future members of Crass were in the 
avant-band Exit, which sorta kinda became Crass after they heard the 
first rumblings of punk.

I suppose I am a bit miffed, like Penny Rimbaud, that Crass really did 
contribute a lot that they're almost routinely overlooked for. The 
"commune" they worked out of, Dial House, had been a center of musical 
activity and various avant bands since '69 or so. By the time Penny 
Rimbaud formed Crass out of the ashes of Exit in 1977, he was already, 
like, 35, and had been doing agit prop in one form or another already, 
much like the COUM transmissions people. But Penny's militaristic snare 
drumming, the "Reality Asylum" dark ambient music and forays into what 
would now be called ambient/experimental, or even outright industrial 
"Smash the Mac," plus the military surplus/all black stuff, that was 
pioneering. NME would slam Crass constantly even as they quietly adopted 
that spartan Crass font look for their own papers or punk section of 
coverage. "We hate Crass, but we're gonna copy their aesthetics anyway, 
and never credit them."

-Oliver


ade wrote:

> You should become an artistic consultant.

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