-----Original Message----- From: Kent Williams said: >Gen has always depended on shock to make his point,
Point? What point? Maybe the 'point' is that there is no point. I certainly couldn't find one, even if I did find stuff in TG and after which I could enjoy. The question is why should anyone who makes art, make art that you don't find offensive? If you don't like it, don't look at it and don't buy it. (I say this as a person who's not particularly a fan of TG and as someone for whom TG's latest look is not particularly my cup of tea.) It seems muddle-headed to defend someone's right to do what they want to do artistically, so long as it doesn't offend you. <SNIP> >On the other hand, there are people out there who make art that doesn't need to be offensive to be affecting and relevant. Case in point -- the rest of the TG crew's work after TG, which remained edgey and wonderful without being a complete freak show. Others might disagree with me, but I'd be a whole lot more impressed with Gen if he'd stop trying to make himself into a homely middle aged tart to scare the citizens and really get down to cases musically. >It's especially interesting -- for the purposes of this list -- to contrast the work ethic that Detroit Techno artists bring to the music with whatever the hell it is that Gen P Orridge is doing. The UR building -- with the garden tools in the entrance to the record store -- is far more revolutionary. Massive fan as I am of UR (etc) that I am, I still find myself asking what the hell relevance do they have vis a vis any one else's type of self-expression? What you say about their work ethic might well be true, but it's a sterile point in the context of this topic. Ken
