El Heppo has alluded to the troubles that occur within a band when some of them realise that the singer has a much bigger house than the others. Apparently The Police – and this has been alluded to in interviews – had an agreement where arranger’s fees were paid to what we colloquially refer to as ‘the other two’, however Mr. Sumner’s learned friends are arguing that, technically, this refers to ‘records’ and not streaming revenues. This seems unfair and nitpicking to me, notwithstanding that (a) he doesn’t need the money and (b) no-one’s sampling ‘Every Breath You Take’ for the bass part. Surely the track is the track, whatever medium we enjoy it through?
Sic transit artem
I was lucky enough to recently visit the Eksisterende Museum in Aarhus, which is situated close to the city centre, in the middle of Vores Gade. In the main gallery was a touring exhibition curated by Dutch conceptualist Mercedes van Stuurprogramma – an artist with whom I was previously unfamiliar but who, it turns out, leans toward the Dada. What Mercedes has done is collect a number of found objects, all of which have at some point been broken while being moved or, in transit.
Those of us familiar with the delivery techniques of DPD (for example) may not be surprised at the breadth of artefacts she has assembled for the collection, but amongst the everyday objets, there are hidden gems which contrast with, and throw into relief, the otherwise mundane. The original 78 RPM version of ‘Wilhelmina (is Plump and Round)’ by Rossini’s Accordian Band – later, of course recorded by Thunderclap Newman and released as the b-side to ‘Something in the Air’ – lies in two distinct shards.
Fairground mirrors, jigsaw puzzles, Lego models, the original 1732 Treaty of Ahmet Pasha, the jaded promises of a desperate passenger on the 1500 Greyhound Bus to Texarkana, a bedside reading » Continue Reading.
