1001 Albums: Pink Flag

#380

Album: Pink Flag

Artist: Wire

Year: 1977

Length: 35:37

Genre: Punk Rock / Art Punk / Post-Punk

“Think of a number
Divide it by two
Something is nothing
Nothing is nothing

Open a box
And tear off the lid
Then think of a number
Don’t think of an answer”

Three Girl Rhumba

1! 2! 1 2 X U!!!

Another heavy hitter when it comes to my own personal listening habits. Pink Flag stands as one of my top 50 favourite albums of all time and, according to my Last.Fm statistics, sits as my second most listened to album (although those numbers are easy to rack up when you have 21 songs in your album). There was always something about Wire’s approach to music that just resonated with me. It was a lot of things I was looking for in music, short songs that stayed interesting the whole way through, and seemed to follow the same philosophy I had for when I was writing sketches, the song (or in my case sketch) only needs to be as long as it needs to be. When the song was losing steam or just didn’t feel like it needed more to it, that was it and that’s all it needed. This seems to be Wire’s minimalist approach to songwriting. Cut the fat and just use what feels absolutely needed. As Three Girl Rhumba says “Think of a number. Divide it by two.” A philosophy they used to write this album.

Dubbed a 21 song punk suite, every song here works as part of a whole and the album subverts our expectations and plays around with song structure in fun and interesting ways. Just when you think you know what they’ll do next, they throw you a curve ball with another song doing something different. A lot of people aren’t fans of how short the songs can be, but the beauty of it is that if there is a song you’re not enjoying, it’s done before you really start to dislike and a new one comes around. This is all done tongue in cheek of course, and Wire was both poking fun at the punk scene that they were surrounded by but also at the same time reinventing it into something artful and new. Post-Punk was starting to spread its wings and fly and Pink Flag is one of the first to set that foundation. A bunch of art school students taking punk into their own hands and turning it into something new and pushing ts boundaries and limits until it breaks at the seams. You’d think 21 songs would be excessive, but in the case of Pink Flag its necessary to make its statement.

When I first listened to Pink Flag years and years ago, it was jarring in the best possible way. It made me see art in a new way and how I could approach it myself. Being economical and efficient while still being effective. Say what you need to say with no excess attached to it, while also playing around with the rules and bending them to breaking point without ever actually breaking them. The band would often play their music live by standing on the stage and moving as little as possible. In a time where solos were the craze and musicians were jumping and dancing and moving all about on stage to create theatrics, Wire completely subverted that by practically being mannequins playing their instruments to sometimes confused crowds.

Is this what music could be? Is this what performance could be? The possibilities opened up and there was nothing I felt I couldn’t do on my own terms. Art didn’t have to fit into boxes and rules and regulations anymore. I could do what I felt was right and keep the integrity of my work. I could have a vision and see it through in my way and not any way others wanted me to. I could do something different and that was still a right answer.

Wire really had an impact on me and Pink Flag will always hold a special place in my heart because of it.

Favourite Song: 1 2 X U

-Bosco

P.S. I especially love the humour behind putting 1 2 X U as the last song. A song named after a count-in used to start their songs placed at the end rather than the start is quite funny to me.

1001 Albums: The Clash

#377

Album: The Clash

Artist: The Clash

Year: 1977

Length: 35:18

Genre: Punk Rock

“All across the town, all across the night
Everybody’s drivin’ with full headlight
Black or white you turn it on, or face the new religion
Everybody’s sittin’ ’round watchin’ television

London’s burnin’
(With boredom now)”

London’s Burning

Just like The Stranglers right before this one, The Clash, and specifically this album, was one I used to spin on my record player quite a bit. I remember finding it in a record store and how excited I was to finally have it as part of my collection. At that point, I already had London Calling sitting neatly in the collection, but it was really The Clash’s abrasive and aggressive debut that I really wanted to be holding in my hands. 22 year old me was incredibly excited to get home and blast this through the house (to my parents’ annoyance of course). It’s an album I enjoy enough that two months ago I got to talk about it at my monthly improv show that is based off my record collection. It was a real delight for me to do so.

Like any young guy just getting into Punk music, it made sense that The Clash would be one of my first exposures to it. They’re often hailed as one of the greatest British punk bands ever, and their debut and London Calling are often listed in top albums lists in general. I do like their debut much better than London Calling, even if their musical talents and songwriting skills are showcased much better on London Calling. The punk simplicity of this one always just made for a much more enjoyable experience for me. What can I say, I like my music fast and aggressive and my guitars crunchy and dirty and my vocals angry and passionate. What makes The Clash stand apart from a lot of their straight forward punk contemporaries is they actually knew how to play their instruments very well, which again, would heavily be seen in later albums like London Calling. And although most of the songs embody what we all know as the defining qualities of the punk genre, we do see their reggae influences start to appear on a song like “Police and Thieves”. A fun fact I recently learned about the fact that a lot of punk bands had reggae influences was that, apparently, at the venues they used to play at, reggae music would play over the speakers in between bands performing, so they were constantly exposed to that music. Pretty cool.

Of course, there has been criticisms thrown at The Clash for not truly being punk and being more of a “boy band” in a punk world, and although I feel that could be more attributed to The Sex Pistols (which I will talk about when we get there), I don’t think it fully could be said about The Clash. Sure they were a group of musicians brought together and given a bit of a makeover to fit the punk look, but the music here is full of biting commentary about UK politics and their culture that comes across as genuine that I believe these guys were pissed of at the state of their society and had something to say. A song like “Career Opportunities” still feels heavily relevant today. A take down of the lack of work available for the youth an the complete disillusionment and disdain for those that were available is something everyone of my generation still feels heavily. This may have been written in 1977 but could have easily been written in 2024. Their anger doesn’t end there though, “I’m So Bored With The USA” expresses their annoyance with the Americanisation of their country, their controversial “White Riot” was about class economics and race, and “London’s Burning” vented their frustrations about how boring everything had become.

The Clash left a large impact in the punk world and for good reason. They would become highly influential for future punk bands who tried to emulate their style, the mix of aggressive music with biting lyrics about society and politics would become a large staple of the punk genre. And regardless of that, it’s just a great album from start to finish, having what I feel is one of the best openers to an album with “Janie Jones” but also one of the strongest A-Sides to any album I’ve ever heard. The Clash are often considered one of the best in punk, and even if you might not fully agree with that, you can’t deny that it’s not well deserved on their part.

Favourite Song: Career Opportunities

-Bosco

1001 Albums: Rattus Norvegicus

#376

Album: Rattus Norvegicus

Artist: The Stranglers

Year: 1977

Length: 40:05

Genre: Punk Rock / New Wave / Pub Rock / Art Punk

“Suffering convictions on a two-way stretch inside
The air in here is pretty thin, I think I’ll go outside
Committed for insanity and crimes against the soul
The worst crime that I ever did, was play some rock ‘n roll

But the money’s no good
Just get a grip on yourself”

(Get A) Grip (On Yourself)

There was a period of time, back when I was about 19-23, when I was really into The Stranglers. I remember listening to their first three albums on repeat and a lot of the songs on those albums got heavy rotation in my car. For me, those three albums (Rattus Norvegicus, No More Heroes and Black and White) were like the perfect package of this band, representing their style and “mission statement” they had musically. Not to say any of their later albums weren’t good at all, it’s just this felt like a perfect three album run for the band and it all peaked at Black and White for me. I would watch the video for “(Get A) Grip (On Yourself)” quite extensively (the song is also the very first song I ever “liked” on Spotify) and this was one of the few bands at the time that I made a mixtape CD of for someone. So, one could say I definitely was a fan, at least in that period of time.

Sadly, I found myself not visiting them as much as I used to, to the point that I almost forgot there was even a time I absolutely adored the band. But I feel that’s normal, we really get into some music and then move on once we discover other things, it’s normal to go through those kinds of phases. But it felt really nice to sit down and listen tot heir debut once again as it made me remember why I fell in love with the band in the first place.

The thumping beats of drummer, Jet Black; the snarling angry intonations of singer/guitarist Hugh Cornwell; and the heavy bass of Jean-Jacques Brunel were the perfect combination for music for me at the time. It just all hit me like lightning, especially the fantastic bass riffs that Brunel would play which definitely elevated the music. But the stand out band member to me, whose contributions were what really set them apart as a band in comparison to their contemporaries, was keyboardist Dave Greenfield, who to this day I still say is one of the most underrated keyboardists of all time. His keyboard parts range from simplistic support to absolute insanity. On a song like “(Get A) Grip (On Yourself)” he flies across the entirety of his keyboard, back and forth, rapidly, with a wild string of notes that somehow work perfectly with the song. One might call it over indulgence, but Greenfield has proven he has restraint when it comes to certain songs. I’ve been trying to learn the keys for “Get a Grip” for the last ten years and have still been unsuccessful. It will never not impress me. (Sidenote, Greenfield was known to play a keyboard solo with one hand and chug a pint of beer with another during performances, which was a sight to behold). All the love and respect for Dave Greenfield!

I would be remiss if I didn’t acknowledge a criticism that had been hurled their way since their debut in 1977 in regards to their lyrics. Even then, people were calling out sexism and misogyny when it came to their lyrics, and when taken at face value, I don’t blame them. Their big hit “Peaches” is literally the inner thoughts of a man ogling women at the beach. However, The Stranglers are much more clever than that. It can be deemed sexist if you don’t factor in the context of the album and the tone they were going for. These were smart guys and it feels a little insulting to them to take their music at face value like that. All their lyrics had a satirical edge to it, delivered with a tone of irony that dipped it’s toes into the absurdities of the culture around them. If the lyrics of “Peaches” made you uncomfortable, that was kind of the point. It wasn’t a commendation of the the act but meant to show how weird this line of thinking in men really was. Remember this is on an album that the band decided to name Rattus Norvegicus, the scientific name for the rat. The rat here didn’t symbolise snitches, but most probably was in reference to the rats that brought about the plague. They have a song called “Down In The Sewers” with the sewer meant to reference London. Sewers are a common place for rats, could it all be these “rats” have brought a plague to London that’s causing a toxicity to their society? I might be overthinking it all, but it definitely fits with the ethos of the band which was to portray the depravity of their surroundings by lifting a mirror to it all, and what better way to do that than song from the perspective of these characters. They also had two songs that were odes to their pub rock days, with “Hangin’ Around” based on the bar patrons they’d meet and “(Get A) Grip (On Yourself)” about the deluded bands they’d see. As they said “But the money’s no good… just get a grip on yourself”.

However you may feel in regards to them, I definitely err on the side of satire. The dirty, aggressive sound of their music definitely supports this idea. I’m happy I was able to revisit The Stranglers after years of sort of forgetting about them. Listening to this album brought back memories to when I used to listen to them heavily all those years ago and it felt good to feel those feelings again. Seeing as I own their first three albums on vinyl, they might all go a nice spin on my record player sometime soon… just need to set it up first.

Favourite Song: “(Get A) Grip (On Yourself)”

-Bosco

1001 Albums: Ramones

#364

Album: Ramones

Artist: Ramones

Year: 1976

Length: 29:04

Genre: Punk Rock

“Beat on the brat
Beat on the brat
Beat on the brat with a baseball bat
Oh yeah, oh yeah, uh-oh”

Beat on the Brat

Hey Oh! Let’s Go!

Don’t lie, you probably sang along to that chant. How can you not? Is it one of the most famous call and response moments in music history? I’m sure there’s a debate to be made that it is, but regardless if you know it or not, I’ll admit its incredibly difficult not to chant along when they start singing Blitzkrieg Bop. It’s considered a banger for a reason!

The Ramones have always been a relatively fascinating band to me when it came to Punk history. It’s no secret here that I’m a big fan of the history of the Punk movement and how it came to be and The Ramones are definitely no footnote in it. They’re often considered one of the most influential and important American punk bands of all time. If I’m not mistaken, they’re THE band that is often considered to have been the first to have officially started Punk. Bands before this that were influential were mainly just that, influential, but considered proto-punk. Not until The Ramones burst onto the scene did the Punk moniker seemingly finally come into existence.

It’s a little more complicated than that because the term “Punk” started in the New York scene, especially when it came to artists who were frequenting CBGB’s, which would become the seminal venue for New York Punk and a lot of musical artists would get their start there: Blondie, Television, The Dead Boys, Talking Heads, Devo, Patti Smith, just to name a few. Well, The Ramones happened to be one of these groups and were one of the first to get a record deal. So with their debut out earlier than others, they cemented themselves as the first (with only Patti Smith beating them out). In context of history and culture, I can easily see where The Ramones fit in and how they were considered such a quintessential Punk band for the movement as a whole.

 In general, when looking at them through a modern lens, it seems hard to truly see this as Punk when you think of the Punk ethos as a whole (and not the “aesthetic” of Punk). If they were to release an album today, I’d find it hard to truly call them Punk, however they didn’t come out today, they came out in 1976, so this felt fresh and different. See, what The Ramones did was break down rock back to its primal form. With a music culture that was filled with Prog Rock bands and Rock artists constantly noodling all over their guitars and creating these long, complex soundscapes, The Ramones went back to basics and just played Rock music in its purest form, fast and loud and simple. Add to the fact that they were another band that could barely play their instruments, looked like a couple of ruffians and none of their songs hitting 3 minutes in length. They were doing things their own way and taking a stand against the rock scene at the time, which lets face it, was becoming rather self-indulgent, so yes, that is definitely Punk as we know it. 

Whether you feel that way or not, this album is just an incredibly fun one from start to finish. The speedy length of the tunes just keeps it moving at a break-neck speed and keeps the bangers coming one after the other. There’s a reason people often consider this their favourite Punk album, it’s just that much of a good time. Decades later, Ramones have left a legacy that can be felt in every young Punk who picks up a guitar and wants to play their own music in their basement, wailing and jumping around with teenage angst and energy. Garage bands may have influenced the Ramones heavily, but The Ramones heavily influenced modern garage bands. It’s come full circle in a great way.

Favourite Song: Blitzkrieg Bop

-Bosco

1001 Albums: Horses

#343

Album: Horses

Artist: Patti Smith

Year: 1975

Length: 43:10

Genre: Punk Rock / Art Punk / Free Jazz / Rock and Roll / Garage Rock

“There must be something I can dream tonight
The air is filled with the moves of you
All the fire is frozen yet still
I have the will
Ooh, ah”

Elegie

I think it is safe to say that starting at this album, I’m about to go on a long stretch of albums where I not only know the vast majority of them already, but they are also albums I absolutely love and even own in my collection. One of the hardest things I sometimes find to do is answering the question “What is your favourite kind of music?”. My tastes vary so wildly across a multitude of genres and eras that it’s hard to properly express what I love. I often say exactly that but I have also been able to make it more specific by saying a lot of the music I seem to navigate towards is in the decade of 1975-1985. All the post-punk, new wave, synth pop music of that time era seems to be the music I listen to and enjoy the most out of all music and seeing as we are in 1975 with this list, it makes sense to assume that I am about to go on a wonderful journey of listening to a ton of albums I already know and love, seeing as this is now my decade.

Patti Smith is no exception to this and it’s rather fitting that it starts with her as Horses is often described as being the official first Punk record (a genre I adore overall). Now, in our modern days, what it means to be “Punk” is often heavily debated and there seems to be a lot of clash (hehe) when it comes to people’s opinions on it. To lots, Punk is a music genre that has certain attributes to it, while to others Punk is an attitude, a way of thinking that a band or artist embodies. Depending on what punk means to you an dhow you define it, a variety of bands may or may not fall under the term for you. I mean, some people seriously consider My Chemical Romance to be punk… what a joke.

To me, personally, punk was never an aesthetic or sound but always an attitude. Cultural context is always important to understand what punk is because what might have ben considered punk back in the late 70s might not be today. It’s not necessarily counter-culture, but more culture that aims to do the right thing for all, speaking out against norms and rules that feel wrong and bringing unity to everyone, while also calling out society and government with occasional satire. Punks have something to say and are not afraid to stand up for what they believe to be right, and no, Nazi Punks are NOT punks but racist assholes.

With that in mind, however you might feel about it, Patti Smith was a punk through and through. We cannot undercut the absolute influence she had on the punk and underground scene at the time, especially with her tenure at CBGB’s alongside Television. She is one of the most important figures when it came to the development of the scene and without her it probably wouldn’t have risen as it did, especially for female punk icons who saw her and said ‘we can do it too!”. Her mix of beat poetry and rudimentary rock aesthetics of the music gave way to a sound and vibe that was new and fresh. She didn’t sing in a way to hit the notes properly but sang from real emotion and she had things to say and wasn’t afraid to say them. She was taking the old and creating new, especially seen with her songs “Gloria” and “Land of a Thousand Dances” that repurposed the two rock staples of the same name to her liking for social satire. Her last song, Elegie even acts as a requiem for Jimi Hendrix and in many ways was a tribute to a lot of rock musicians of the past. Break it Up is even written about Jim Morrison. She knew where her influences came from and knew the steps she wanted to take moving forward. I mean, when you start an album with the words “Jesus died for somebody’s sins but not mine”, you’re making it clear to the listener you’re here to make bold statements.

There’s no denying the impact she made on the underground scene and for bands and artists to come. A lot of people I know might listen to this album and not consider it punk, but knowing the cultural context of what was going on, how can you seriously not? The album cover made a big splash itself by showing off an androgynous looking Patti Smith, which was enough to come across as a bold statement. Even all the way down to the title, Horses, a name that was created as a response for the need of the rejuvenation of rock music after the death of so many prominent musicians. Patti Smith was even quoted as saying such:

“Psychologically, somewhere in our hearts, we were all screwed up because those people died … We all had to pull ourselves together. To me, that’s why our record’s called Horses. We had to pull the reins on ourselves to recharge ourselves … We’ve gotten ourselves back together. It’s time to let the horses loose again. We’re ready to start moving again.”

Patti Smith

Letting loose was a big part of what created the punk scene. All these people who had all these emotions bubbling and burning beneath the surface finally needed to let it all out and Patti Smith helped be a catalyst for that.

Favourite Song: Gloria

-Bosco

1001 Albums: New York Dolls

#300

Album: New York Dolls

Artist: New York Dolls

Year: 1973

Length: 42:44

Genre: Hard Rock / Proto-Punk / Glam Rock / Punk Rock

“But now your tryin’ to be some, now you got to do some
Wanna be someone who cow wow wows
But you thinkin’ about the times you did, they took every ounce
When it sure got to be a shame when you start to scream and shout
You got to contradict all those times you were butterflyin’ about
You was butterflyin’

About that personality crisis, you got it while it was hot
It’s always hard to know when frustration and heartache what you got
I’m sorta talkin’ ’bout personality, yeah, yeah, yeah, oh”

Personality Crisis

Is it possible for an album to hold the distinction of being considered both the Best and Worst album of the year?

To find the answer to that question, you have to look no further than the New York Dolls’ debut album. According to the Creem Reader’s Poll of 1974, they were voted as both the best and worst group of the year (after releasing their debut), which is no easy feat to pull off. How can a band simultaneously be the best and worst? How do you even manage to obtain both extremes? Simply by being incredibly new and fresh but also incredibly confrontational in their style.

It’s funny how just two records ago, I delved into my love for the history of Punk rock with one of the most important proto-punk albums and just two albums later, I’m met with another one of the most important albums that set the template for the punk rock movement that was about to form. For the youth of the 70s, they witnessed a band that could barely play their instruments, garnering a cult following and rocking out to loud and raw sounding music, which would go on to influence various bands like The Ramones, Sex Pistols and The Damned (all defining bands of the beginning of the Punk genre). For the older generation, they heard the subversion of music, which they felt undermined the the musical sophistication that they were used to up to that point. Plus the band loved to dress in drag as they performed and the cross dressing was clearly a scandalous thing to do for that older generation who didn’t like the New York Dolls. While the youth saw a band that was starting to define a new sound for their generation, the old folk saw a bunch of amateurs playing music that they didn’t consider REAL music.

Regardless of what the old geezers thought, New York Dolls managed to create one of the most influential albums of all time, in retrospect even being considered one of the greatest debut albums of all time as well. It’s crazy to see how people like to pinpoint the Ramones as a first when these guys were doing what the Ramones were doing before the Ramones did what the Ramones did. And yet, other than music historians, who ever talks about the New York Dolls? They may have left an impact on those that were paying attention, but to the average listener, they’re more faded into obscurity (which makes sense why they’re considered a cult band more-so than mainstream). They helped create a blueprint for Punk, with the DIY, amateurish instrument playing, the “shocking” aesthetic and the in-your-face, devil may care attitude, that would eventually define the genre as a whole. There’s no understating how important the New York Dolls were for the genre.

Also, this is a monumental moment as I finally hit 300 ALBUMS! Quite the milestone as now I am officially about 1/3 of the way through the list! And what a great album to be number 300, not only one that I absolutely love but was greatly influential! Never thought I’d finally hit the 300 mark, but here I am. SO excuse me while I go celebrate the 300 mark while listening to the New York Dolls one more time!

Favourite Song: Trash

-Bosco

1001 Albums: Fun House

#200

Artist: The Stooges

Album: Fun House

Year: 1970

Length: 36:35

Genre: Hard Rock / Proto-Punk / Avant-Rock / Punk Jazz / Punk Rock

“Out of my mind on Saturday night
1970 rollin’ in sight
Radio burnin’ up above
Beautiful baby, feed my loveAll night till I blow away
All night till I blow away
I feel alright, I feel alright”

My friend Luis and I have been doing this really fun thing that I’m sure I’ve mentioned in previous posts (but the time between some posts has been so long that I honestly can’t remember what I probably already said (Something Amber says I do a lot by the way, repeating stories I’ve already told her and she’s heard and I didn’t remember (I clearly have a memory problem))). Either way, my friend Luis and I for the past few years have been sharing albums with each other. It’s been a great way to bond with a good friend but also discover new music I probably would have never heard before (and vice versa (I promise there won’t be too many parentheticals (Ok can’t really promise I won’t since it’s kind of my style to do parentheticals but I promise I won’t get out of hand with them (Another promise I can’t promise to keep)))). At some point around last year (Can’t remember when, don’t ask me (possibly that memory problem I mentioned above, but I can’t be expected to remember the date this specifically happened (although I do remember waiting for a bus (Oh no, I’m doing the parentheticals again after I just promised not to, I’ll stop (another promise I can’t keep sadly (I’m hungry))))). What was I saying… Oh right, at some point last year Luis shared this album with me. Since I was close to listening to it already, he ended up switching it to something else and ended by telling me to let him know what I thought of it. I jokingly said NO, I never will. Now, Luis doesn’t give a shit if I tell him or not, he couldn’t care less, but that joke stuck with me and I made it my duty that I will never let him know what I thought of this album. Since this can be read publically, it is no exception to this and I won’t be sharing what I think of it (Sucks I know but if you know me I think it’s obvious what I think of it (I just won’t say)).

As you can tell, I’m very dedicated to a bit that is serving no one except myself it seems. Something I’ve always stuck to is the idea of committing, you have to commit to the bit otherwise it will never work. Nothing worse than half-assing anything really. When you commit to the bit, it becomes something more than it ever could be. No matter how weird or how bad it is, when you commit fully you can win people over purely based on that hard commitment you’re giving. That’s a lesson I learned doing Improv. You could be doing something weird on stage but if you commit to it, you can win the audience over. The second you start to doubt it and judge it yourself, you lose them because they can see you’re not into it. I’m very committed to any bit I do, no matter how stupid, ridiculous, silly or non-sensical it is, when I’ve decided to commit, you bet your sweet ass I’m committing to it. Even though I’m the only person who A) find it remotely entertaining in any way and B) Nobody else cares.

I’ve always been a big fan of Andy Kaufman, who was the king of committing to bits that he was the only person in on the joke. I’ve always admired his sense of humour and his confidence to do what he did. It’s not easy to alienate audiences like he did and somehow still end up successful. Most comedians want their audiences to love them, so easily fall prey to mass appeal shtick, while Andy did the complete opposite. He went at it all with the exact purpose of fucking with everyone, purely because he found it funny. If I had the chance to talk to anyone, I would have loved the opportunity to talk to Andy Kaufman and pick his brain. His grasp of comedy is beyond what anyone else’s is and he simply was a comedic genius that has never been replicated.

I’m no Andy Kaufman, no one is, I never will be, but I have learned some great lessons in comedy from him that I apply to my own comedy. As I mentioned, the commitment to a bit, but also the aspect of doing what I find funny. So many comedians get bogged down by the idea of trying to do what others find funny. they try to dissect their routines, craft their jokes in hopes that it’ll make as many people laugh as possible. This leads too many of them to resort to low hanging fruit, easy jokes that they know people will laugh at, and being crude for the sake of being crude. I never bothered with any of that nonsense, I always just did what I found funny, not caring if others did too. I find all the best comedians worked that way. Monty Python, Kids in the Hall, Sunny in Philadelphia, all these people did their own thing with no regards to rules and just did what they liked and in doing so created a niche following for everyone out there who shared in their sense of humour. I like that, I’d rather be niche than have mass appeal. When you’re niche you have a personality, but when you have mass appeal, you become soulless, hollow and sterile. Bland as white bread (although I love white bread, so if anything I’m insulting white bread with that statement).

Not sure what I’m trying to say here, I kind of started on a tangent aimlessly without knowing where I was headed. I guess what I can pull form all that is… Do what you like. Create art that you like. Don’t do what you think is the right way to do it, do what you truly enjoy. If you’re not truly enjoying your own creations than how do you expect anyone else to enjoy it as well? If you truly enjoy it then guaranteed there will be someone else out there who will as well.

And no, you’ll never know what I think of Fun House.

Favourite Song: Loose

-Bosco