386:, which features the lines "the externality of the spectacle in relation to the active man appears in the fact that his gestures are no longer his but those of another who represent them to him. This is why the spectator feels at home nowhere, because the spectacle is everywhere". King himself, talking about the same song, said: "Sometimes, you get lucky and a line comes that makes everything easy. Suddenly getting the answer to a question when you turn off and think about something else. Thrown-ness - if that's a word at all – was something we puzzled over. Why, if everything is like it is, do so many things seem ersatz, phoney. But it's not phoney if you know it's phoney, as Truman Capote said of Holly Golightly "she's not a phoney because she's a real phoney".
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was more interested in "changing the meaning of things by the label". King said in the same feature: "I remember when I was 15, I got incredibly excited when I found some grubby old book in a secondhand bookshop about the revolution in Paris in 1968 (...) There was a picture, which I still cherish – it was a photograph for some kind of perfume and a very glamorous-looking woman on this poster, and someone had written on it in French: "You know I know I'm exploiting you, but I'm not doing it on purpose". I got terribly excited by the fact ... you can change the meaning of things by the label... I wondered how one could play around with these sorts of ideas in music".
368:"If you, say, look at the published agenda of music which limits itself to a very small set of subjects and the way it approaches these subjects (which in its most extreme identity is a sort of Bryan Adams-style song), about missing or making up with your girl, driving the car, in some sort of all-white, midwestern high school, which is an incredibly common motif ... I don't know anything about that. That is something which is a very specific American topic, but it seems to be exhaustively gone around. I had a chance to describe it the other night, like a dog returning to its own vomit.
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359:, that "where I think that Situationism was good was in the development of its revolutionary tactic: 'reinvesting' the cultural past. Situationism conspicuously used popular imagery in order to subvert it – to make the familiar strange, rather than rejecting the familiar out of hand. The tactic was good, worth ripping off, as in the
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King was primary lyricist in the band and wrote words to almost all their most influential songs, including "Damaged Goods", "Natural's Not In It", "I Found That
Essence Rare", "What We All Want", "I Love a Man in a Uniform", "Call Me Up" and others. He said of his lyrics, quoted by Michael Hoover:
363:
cover, or the original "Damaged Goods" sleeve." In an interview with NPR the author stated "King's lyrics have always meant different things to different people. Some see his words as a reaction to
Margaret Thatcher, unemployment in early-'80s Britain or the unraveling of the unions. But King says he
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as one of 100 greatest
British albums of all time, said that King's "lyrics performed the minor miracle of rendering deconstructionist slogans - Marx and Engels by way of Guy Debord - into telegrammatic rock'n'roll rabble-rousing". "In other words, pop songs as false emotional advertising and
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said, in reference to King's lyrics, that they "deal with one of Karl Marx’s theories most widely favoured by the
Situationists, the guttansweng ("species-being"). The guttansweng is the idea that people become separated from their human nature and thus become alienated within a capitalist
377:
ideology as everydayness are themselves grounds for inquiry", as King told Greil Marcus, because "unless you have an awareness of your views as political manifestations, you won't believe you can change them". A 2014 re-appraisal of
61:
518:
1980 letter by King to Greil Marcus quoted in "Pop Music and the Limits of
Cultural Critique: Gang of Four Shrinkwraps Entertainment." Author/s: Michael Hoover fall 1998.
309:
and percussion such as a microwave oven or wooden block (using a baseball bat or a stick), the latter notably on the song "He'd Send in the Army". Jon
Pareles in
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242:(born 8 June 1955) is an English singer, musician, songwriter, and Grammy nominated art director, best known as the singer of the
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magazine as "the best debut album by a
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442:(2006); "13 Reasons Why" ( Netflix) The OC (HBO); and "Treme" (HBO). "Natural's Not in It" (from the album
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environment... "At Home He's a
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King created the cover art for many of their albums, including the outer sleeve designs for the
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described King's lyrics as "bitterly analytical, infused with theories from
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King has written music for TV and film, notably title music for the BBC's
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ideas on Gang of Four's work, Jon King remarked, in a 1980 letter to
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611:"Gang of Four 'Never Pay for the Farm' on Letterman 2011-02-08"
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from the article and its talk page, especially if potentially
476:"2022 Grammy Awards: The full list of nominees and winners"
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529:"Gang of Four: New 'Content,' Same Classic Sound"
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305:lyricist and co-songwriter, he sang and played
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454:. In 2011 he performed with Gang of Four on
509:David Fricke, Rolling Stone, 7 August 1980.
409:, a Matador records box-set issued in 2021
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64:about living persons that is unsourced or
165:King performing with Gang of Four in 2011
135:Learn how and when to remove this message
16:For other people with similar names, see
831:A Brief History of the Twentieth Century
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928:People educated at Sevenoaks School
403:A Brief History of the 20th Century
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450:Magazine's "Inspiration to Music"
332:Jon King co-wrote and co-produced
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274:of Gang of Four, documentarian
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500:. Retrieved 26 September 2013.
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22:Jonathan King (disambiguation)
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585:"The Mojo Honours List 2005"
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230:Vocals, percussion, melodica
42:biography of a living person
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240:Jonathan Michael King
171:Background information
56:Please help by adding
372:, in its citation of
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181:Jonathan Michael King
913:English male singers
278:, and film director
62:Contentious material
938:Musicians from Kent
458:and Jools Holland.
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407:Gang of Four 77-81
311:The New York Times
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266:and Mark White of
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838:The Peel Sessions
806:What Happens Next
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537:. 28 January 2011
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276:Adam Curtis
196:8 June 1955
897:Categories
764:Solid Gold
718:Dave Allen
705:David Pajo
595:8 December
462:References
399:Solid Gold
268:The Mekons
192:1955-06-08
177:Birth name
95:newspapers
84:"Jon King"
813:Happy Now
713:Andy Gill
348:in 1977.
345:The Clash
291:Andy Gill
272:Andy Gill
254:Biography
244:post-punk
213:Post-punk
202:Southwark
47:citations
698:Sara Lee
684:Jon King
498:AllMusic
430:(1984),
418:Scrutiny
307:melodica
153:Jon King
125:May 2010
73:libelous
873:Singles
799:Content
633:YouTube
616:YouTube
569:12 July
558:"51-57"
297:in 2011
109:scholar
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319:Adorno
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