Thursday, August 29, 2013

Sex and the single room

News from University Hall, Auckland University's latest money-making wheeze (sorry, I meant to say "integrated student accommodation environment" or something like that, but I just couldn't) comes this  extraordinary  notice: "We have received several complaints of excessive noise of a sexual nature after 10pm. Although engaging in sexual activity is not discouraged, it would be prudent to note the accompanying noise may be heard by your neighbours. If you are unable to restrain these noises, we may have to ban sexual activity between 10pm and 6am."

Oh my; what is going on there? As this photo  – of an actual University Hall standard single room with actual students actually posing awkwardly – shows, the University provides scarcely enough space for a threesome. But perhaps everybody is so happy there that they just can't help hooking up and indulging in raucous rumpy-pumpy all night long ("Please note that you will have to supply your own towels"). But what will happen if the 10-6 sex curfew is implemented? Will students be bunking lectures in favour of afternoon delight? Will they be thrusting faster, faster, in order to finish before the 10pm deadline? Will they be abstaining all night long but setting their alarms for six?

And can we blame the architects? When Warren and Mahoney designed this building they were very proud of the bedroom units, which were pre-fabricated and then slotted together onsite. Perhaps the soundproofing qualities of good old-fashioned bricks and mortar have something to be said for them.

Feel free to share your embarrassing university sex memories in the comments below.

Roogalator; note the before and after contraceptive pill package on the front and back covers: there was a time when people, men mostly, seemed to think that contraceptive pills were that fast-acting. If you don't believe me, watch Bob and Carol and Ted and Alice.

Monday, August 26, 2013

Uses of literality

An essayist writes:
I have just recently watched the film 1995 film Braveheart directed by and starring Mel Gibson. The main thing that I noticed about the film was not the art or architecture, but the lack there of. In ancient Roman times, there was some kind of Roman architecture almost everywhere. Everywhere you looked, you could see some sort of statue or temple. However, in the film Braveheart there are hardly any. 
Since the people were spending all of their time fighting, they had very little time to work on art. Braveheart does not focus on art and architecture, but you can tell very easily how much the arts had diminished after the fall of the Roman Empire. No great works of architecture and literally no sculpture. During the time of William Wallace, the arts were not nearly as important as survival. The film shows the camps of English soldiers crammed into little groups of tents that are poorly organized. The little architecture in the film Braveheart is very meager and dull, nothing like Roman architecture. In Roman times, the Roman soldiers would build entire cities where they camped. In England and Scotland during the time of William Wallace, the people were constantly fighting a war for something, either to gain more land, or to keep what is theirs. This just goes to show how the arts went down hill after the fall of Rome. During Roman times, the Romans were not constantly worried about being overtaken by their enemies, so they had plenty of time to work on their architectural wonders.
You can buy the rest of this essay on Internet.

Belle and Sebastian

Sunday, August 25, 2013

In every dream home a heartache

Architect 3D brings the world of 3D design within everyone's reach! The software allows you to easily draw up plans of your home and design its structure, from the foundations to the roof. From frames to masonry, electricity, heating, plumbing, and more. Design and view every detail of your project. You don't need to be an architect or building professional: Architect 3D provides you with all the tools and guidance you need to design your own project.

No it doesn't. Architect 3D gives you all the tools you need to make a complete prat of yourself. Building professionals and architects will point and laugh at your project, which they will see when you are obliged to ask them to save your project from itself. You see, they know what they are doing. You do not. Look at this kitchen. Look at those columns. Look at that "dining area." Try to look away; you cannot. It is too horrible to bear but also too hideous to ignore.
Now look at this plan. See how you would have to walk through every room to get from the front door to your bed. This is the design sensibility of a Victorian slum. Notice the facilities, clustered together in a state of mutual antagonism. Imagine your family and your guests struggling to negotiate the kitchen, lavatory and hall, while vast areas remain empty and ignored. And why is the garage door so small?
Now look at this house. Yes, it is a house, not a car showroom. Notice how the brises soleil are supported by struts because they not cantilevered: they are bolted on to the structure rather than integral with it. And it is no excuse to say that these designs are by French people. Non monsieur, this is a universal problem of design: people who cannot design have access to design tools and can make their horrible ideas real.

Roxy Music:

Wednesday, August 21, 2013

He's Frank, She's Pans/Demi

Most Privileged to least privileged….
  1. White Straight Cis Male
  2. Asian Straight Cis Male
  3. Hispanic Straight Cis Male
  4. Mixed/Native Straight Cis Male
  5. African American Straight Cis Male
  6. White Gay Cis Male
  7. Asian Gay Cis Male 
  8. Hispanic Gay Cis Male
  9. Mixed/Native Gay Cis Male
  10. African American Gay Cis Male
  11. White Straight Cis Female
  12. Asian Straight Cis Female
  13. Hispanic Straight Cis Female
  14. Mixed/Native Straight Cis Female
  15. African American Straight Cis Female
  16. White Gay Cis Female 
  17. Asian Gay Cis Female
  18. Hispanic Gay Cis Female
  19. Mixed/Native Gay Cis Female
  20. African American Gay Cis Female
  21. White Tran Individual
  22. Asian Trans Individual 
  23. Hispanic Trans Individual
  24. Mixed/Native Trans Individual 
  25. African American Trans Individual 
  26. White Pans/Demi Female (this is me)
  27. Asian Pans/Demi Female
  28. Hispanic Pans/Demi Female
  29. Mixed/Natvie Pans/Demi female
  30. African American Pans/Demi Female

The privilege hierarchy was compiled by Amanda, whom can call  Elizabeth. Amanda/Elizabeth enjoys a healthy and open vegan lifestyle. She has a boyfriend named Frank, with whom she lives. As you can see, at number 26, Amanda/Elizabeth is near the bottom, which is where you would want to be if you were compiling a privilege hierarchy. Shouldn't that be kyriarchy? Or perhaps not; it is all too confusing.

Life must be rough for white Pans/Demi Females, but worse for Asian Pans/Demi Females and turtles all the way down. The roughest thing about life for Pans/Demi Females is that nobody knows what they are or what they want. There seem to be no Pans/Demi males, which is probably a function of the kyriarchy.

Some of us might have difficulty with the notion of a white female who will be a junior in college in the fall being near the bottom of any hierarchy. Some of us also will be bewildered by the notion of a sexuality league table. The gender/sexuality/identity thing these days seems to be all about lists and rankings. And let us not forget the acronyms, and the stroke/oblique.  It is all a lot like the army.

Breaking news: Amanda/Elizabeth broke up with Frank, had this other guy and now she is pregnant; so at least we know that being a Pans/Demi Female does not preclude Rumpy/Pumpy.

I think this whole thing is scripted. It is probably one of those viral marketing campaigns; or perhaps a ruse to rile Republicans. I hope so. If it is true, it is all rather unfortunate.

Look Blue Go Purple; Lovely song, rubbish video:

Monday, August 19, 2013

Me with nothing to say and you in your blue blazer

The blue blazer is an icon of men's style, particularly collegiate men's style. The versatility of the garment allows the young man donning it to feel at home in just about any social setting. Pair a blue blazer with chinos and an open-collar button-down for a preppy look at happy hour. Mate the same blue blazer with a pair of dress slacks and a tie as you talk to recruiters at job fairs for potential internship opportunities.
Remember Yahoo? No longer surprised why you don't remember Yahoo? Wondering if you should write it with the exclamation mark, so it would be Yahoo!?

Does not the blue blazer say that you, young man, have given up the possibility of having a fulfilling life even before you have left college? Does it not say that you have decided, because of ambition and fear, that you have surrendered any independence of mind you had as a child in favour of conformity to the prejudices of the recruiters at job fairs? Do you want that internship opportunity, the chance to work for them for little or nothing, so much? Do you think you will not regret sacrificing your college years, your one chance of freedom, to a life of corporate respectibility? Do you want to have that preppy look at happy hour? Do you realise that you are never going to have sex with an art student?

And what are dress slacks? Do I really want to know?


Sunday, August 18, 2013

Letters to the Editor

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Brewer's droop

Moa put itself above the rest. It behaved like a 1980s-style corporate full of brand puffery and put out marketing that was flippant, sexist and arrogant. Then it did silly things like appointing itself some kind of arbiter for what defined craft beer. 
To me, Moa was the man in the suit sitting in his glassed office looking out at a pub across the road where everyone was getting on well and drinking nice beer.
Quite. Michael Donaldson's excellent analysis of the collapse of Moa should be required reading of any young man considering a career in management going forward, and should prompt that young man to ask himself "am I in any respect like these people?" Because Moa's failure is at heart a management problem: Moa is managed by tossers.

Of course we all knew that all along; we had known the essential tossitude of the Moa management as soon as we saw the prospectus, in which the directors posed with young women, to show the world that Moa is managed by manly men. Instead, it showed the world that Moa is managed by the sort of men you would not want to see near a girls's school, the sort of men you would describe as "dodgy," the sort of men who appear in the local paper on charges of indecent exposure. If you can bear to be reminded of the prospectus, some photographs are shown on Beer Diary, accompanying a rather good article from the time.  And you might also recall Hayden Green's careful analysis. In short, they cannot say they had not been warned.

At best, the prospectus photographs said "we are men who pay young women to be with us." At worst, the photographs say "we are sex offenders who have yet to be caught;" this latter might be considered a profit warning. But somewhere in between, near the middle of this scale of seediness is the  message, "we are sad gits." Sometimes a cigar is just a cigar; at other times, it is a poor substitute for a penis. The problem for the Moa management is that they just don't get it, in both senses of the phrase. The world has moved on. Mad Men is a satire, not a management guide. Men like the Moa men are generally regarded as the sort of men with whom you would not want to share a crowded train carriage –  all sweaty suits and gropey hands, cheap aftershave and beer breath.

The sad thing about the Moa men is that the advertising industry is full of sad men just like them, so no attempt at a disguise was made. In the view of the advertising world, as the reliably flaccid StopPress reminds us, women who object to objectification must be lesbians. And let us not forget Eric Crampton's prediction:
I expect that Moa will wind up doing well. Their beer is pretty decent and they're pretty shameless. That's not a bad niche. A small brand can afford to have half the world hate it so long as it gets a few people who love it.
Well, no. It seems the age of the tosser has passed. In other news, Mediaworks – another failing company, is standing behind its presenter Dom Harvey. This is a sensible position: you would not want to stand in front of him, because he might just whip out his tadger. Harvey, a man with a history of troubling attitudes to women, made a terrible mistake, sending the Snapchat of his willy intended for his producer, Sophie Hallwright, to athlete Sophie Pascoe. This is why we listen to National Radio in the mornings.

PROTIP: say it with flowers.

Picture from Sub-Machine Gun

Saturday, August 17, 2013

Nothing like a dame

Reaction to my previous post, about Richard Cooper MA, has been mixed. One gentle reader said something to the effect of "you post nothing for weeks and then you write a post about another post by someone you don't know about something of no interest to you and which happens to be a year old." That much is true, but my point was that Mr Cooper's post is still very popular and is tweeted often, as a quick look at Topsy shows. In retrospect, I was rather unfair on Mr Cooper. By doing the hard yards and producing a thoroughly-researched post, he has kept its relevancy: people refer to it as the authority on Graham Linehan and Steven Moffat as tweeters. If that is your thing, Mr Cooper's post is the place to go.

But then the strange yet inevitable happened: Giovanni Tiso PhD decided it was all about him. It turns out that he was one among the hordes who tweeted Mr Cooper's post and, by a process of ratiocination that defies gravity, concluded that I must have been talking about him when I wrote:
Script writers and Guardian columnists face the wrath of 29 years-old Richard Cooper,a budding writer with a degree in English and American Literature and an MA in Dickens and Victorian Culture, both from the University of Kent. He is taken seriously only by several pantomime dames on Internet.
No, nor me. Dr Tiso believe he is one of those dames. I really do not see how he got here from there. But judge for yourself, gentle reader. You can read Dr Tiso's thoughts on the matter, and the reactions of several other tweeters, here. I did not participate in the discussion; my spies did not tell me about it until several days after the fact. Even had I known, I would not have interrupted. Rather, I would have sat down on a grassy tussock and observed from a distance. Even served cold, this conversation is richly enjoyable to its subject.

I do, though, have a few questions to ask. Have I called the Dr a "pantomime dame" in the past? And
have I said the same of Dr Dentith? I only ask because I have no record of having used that term about either of them. I may be wrong; Dr Tiso does have a PhD in Memory, so perhaps he knows better, but I have no recollection of such. I would hate to repeat myself. The only use of the phrase I have made on this blog is that time I referred to Pantomime Dame Jenny Shipley. But that was a play on words, because she is a dame.

How could one construe this comment as homophobic?  Pantomime dames are roles; preposterous women played by men in such a way that is obvious they are such. Usually the players are well-known comedians, so the reality of the matter - that this is all false and those are falsies - is obvious. What on earth does that have to do with homosexuality? Perhaps Dr Tiso saw Cinderella and believed the ugly sisters to be women and now thinks I am calling him a woman. I think Dr Tiso should get out more often.

In any case, why is Dr Dentith involved in all this? Are they members of a support group (Doctors without Frocks, perhaps) comprised of Phuds who have been mocked by me?

And when Dr Dentith says "it's a term he's used in the past and will likely use again in the future, probably with reference to this series of tweets," is he not being a bit presumptuous? I might refuse to use the term again, just to prove him wrong. I might have retired the phrase already, or I might revive it. Who knows what I shall do?  Still, I find myself trying to remember when I said the term in relation to either Dr or both. Please excuse me, I must check my email, and then my privilege. Enjoy this while I am away:

And we're back. It seems I did once use the phrase in an email with reference to members of the Socialist Workers Party, who I also described as neither socialists nor workers, just middle-class authoritarians. I resisted the temptation to mention their donkey jackets and their mockney accents, which I think showed considerable restraint on my part.

My privilege is coming along nicely, I thought you should know.

Does Dr Dentith really think I have a vendetta against him? What a dear boy; in any case, does it not take two to make a vendetta? "It's not really a feud when only one side is participating," he says. Well no: I am here on this grassy knoll, taking notes. It is a rum feeling being an observer to a feud of one side, especially when that side claims me as their opponent and predicts that I will become involved. If only they had called, I might have considered joining in, just for the fun of it. Perhaps, once my my thesis is done and I have my PhD, I could become one of the academic Pauls with whom Dr Dentith imagines he has an argument, alongside Dr Paul Moon and Dr Paul Buchanan.

In the meantime, what is the sound of one side feuding?

Anyway, that is enough questions. I was disappointed that nobody who read my previous posts asked "who is that girl in the photograph?" I suppose you already knew, but in case you were too shy to ask, she is Valerie and she is the protagonists of a delightful Czech film from 1970, Valerie and her Week of Wonders. You can read about it on Wikipedia, if only for the joy of reading the sentence "She is walking on a bank watching lesbians at play in a natural waterfall." What games do lesbians play? After considering your answer, you can watch scenes from the film and listen to this beautiful song by Broadcast. And, before you ask, the photo above is from a film, but I cannot remember which one. It might have been Kamikaze Girls. I expect I found it on Sub-Machine Gun.

Saturday, August 10, 2013

Writers ripped his flesh

This wasn't the first time this had happened, although it was a new low that something so blatantly civil should be termed rude. A while back, someone tweeted Moffat asking if the next series of Doctor Who would feature a plot. Moffat blocked him, then unblocked him and sent him tweets asking him to go away. When several of the tweeter's friends pointed out he was perfectly entitled to express an opinion about his work, Moffat's media chum Caitlin Moran said to her friend: "And you're perfectly entitled to tell them to fuck off." Then faithful Tom Spilsbury sent the Moffat-offender tweets pointing out he had been a little rude: and reminding him that it was awfully stressful for a busy TV showrunner like Moffat having criticism of his work sent to him (One might put to Spilsbury the notion that the exciting thing about writing is stimulating debate, and interacting with people who don't quite see things your way. Or am I being rude?)
No, you are being a bore. Or, at least you were: this post is over a year old, yet it resurfaced in various places this very week, because  Piers Morgan said something about Twitter trolls and
Graham Linehan said something else. Graham Linehan, you will recall, wrote a very funny sitcom called Father Ted and another called Black Books; he followed these with a very unfunny sitcom called The IT Crowd. This last was really the same story as the second, which was a development of the first: narratologists eagerly await a Linehan comedy that does not have three main characters (bad, mad and sad) in a confined setting. But all these pale in comparison with Linehan's latest. The Daily Telegraph's IT guy explains:

A similarly jocular reference to doing away with the heinous trolls passed between Father Ted and IT Crowd writer, Graham Linehan, and Frankie Boyle, the unthinking man’s Jerry Sadowitz. After Boyle tweeted: “If my block button killed people we’d be living f**cking utopia”, Linehan replied with an emphatic “I hear THAT”. 
It's all about the timing. You could try using this with your friends: whenever somebody says something that is not very funny, you could respond with “I hear THAT.” Soon, everybody will find you annoying.

But many other people, well some at least, found Linehan to be offensive. So they reached into their memory banks and pulled out Mr  Richard Cooper's long, indignant and aggrieved sob, a part of which is quoted at the top of this story. Mr Cooper is interested in narrative, so he likes a good story, and does not seem to mind that Mr Linehan's stories are the same. Mr Cooper's story is one of enchantment and  disappointment.  First he is charmed by Mr Linehan, then enthralled by the attention Mr Linehan gives him on the Twiter. But then Mr Linehan says rude things to other people on Twitter. Not only that, but Mr Cooper was horrified to observe Mr Linehan blocking people.

And then things worsened. Steven Moffat, another writer and one involved with Dr Who –  a children's television series that has been revived for the onesie generation – also said rude things, the rudest thing of all, in fact:

Moffat replied: When did I say I thought I was contributing to bisexual visibility?? Please stop being rude to me, you have no reason to be.

Not only had Moffat failed to contribute to bisexual visibility but he had asked his interrogator to stop being rude to him, which is a rude thing to do. The interrogator had demanded "Is this hard to grasp?" This is not rude.

And then Goldacre and Booker became involved. It deepens like a coastal shelf.

And it goes on and on. Twitter, you see has a central problem :
The central problem with Twitter is that we the proles are allowed to freely mingle with the first-class passengers. This causes tension when we fail to know our place.

I think I can help here. I have a central solution: do not follow the rude celebrities. That should do it. But no. Mr Cooper's heroes have behaved in a manner unbecoming. They must be held to account.  So Mr Cooper, being a lover of narrative, ends his story with a moral lesson.
Twitter belongs to the people, not the sitcom writers, columnists and script editors (let alone the restaurant critics - now there's a candidate for an underclass). Only tyrants boast of their ability to mute and block.
Leaving aside the fact that restaurant critics are second only to art critics in hauteur, one must wonder about his notion of tyranny. Muting, as practised by old-school tyrants, usually involved the removal of tongues, while blocking is too indelicate a matter for a genteel blog. If tyranny has come to this - script-writers responding to complete strangers who complain about  bisexual visibility (does this involve DayGlo?) and blocking others on Twitter - then the world may now be a better place than before.

But what is extraordinary about all this is that it concerns the behaviour – no, conduct – of two men whose only real sin is to write increasingly repetitive and formulaic television scripts. What is remarkable is that the people in this ring who are condemned for supporting those men – Goldacre, Booker, Moran and Coren – are the only ones in this fight who still display some writing ability.

And yet none of it matters. Script writers and Guardian columnists face the wrath of 29 years-old Richard Cooper,a budding writer with a degree in English and American Literature and an MA in Dickens and Victorian Culture, both from the University of Kent. He is taken seriously only by several pantomime dames on Internet. The rest of us look on in bewilderment at the peculiar culture of geek hero-worship and rejection, while waiting for the next Great Disappointment – which probably will involved Joss Wheedon, as it usually does – to befall this  community of overwrought people who watch too much television and overanalyse it too much.

Meanwhile, Mr Giles Coren – son of Alan and sister of Victoria – not only makes money from his restaurant reviews, he gets sex.

Damned, damned, damned:

jazz music, jazzy style Jazz Age

The estimable and industrious Mr Stephen Stratford has reminded me that I have not posted much recently. 

What follows is the greatest essay about Art Deco ever written. It was not written by me.You can read the original here. You can read my opinions of this ghastly nonsense here.

Architecture Art Deco

A name derived from the art deco Exposition Internationale des Arts Décoratifs et Industriels Modernes, though the term is not used until the end of 1960. Art Deco influenced by many different cultures, especially in pre-World War I in Europe. Movement occurred at the same time, and in response to technological advances and developments sisoal from the early 20th century.

Art Deco said, including new terminology at the time, was first introduced in 1966 in a catalog published by the Musée des Arts Decoratifs in Paris at the time the exhibition is being held under the theme "Les années 25". The exhibition was aimed at reviewing the international exhibition "l'Internationale des Arts Décoratifs Expositioan et Industriels Modernes" held in 1925 in Paris. Since then the name of Art Deco is used to name the art when it was popular and modern. The emergence of the terminology in some of the articles are increasingly making a name Art Deco exist. Art Deco has gained a place in the art world with the publication of the book "Art Deco" by Bevis Hillier in America in 1969.

The term Art Deco evolved during his appearance in 1925 but did not receive wider usage until 1960. art deco style considered as an eclectic style of the view that modern decor influenced by a variety of sources, for example:
• Early work of Wiener Werkstätte architect; functional industrial design, with roots in the late nineteenth century.
• The art of "primitive" Africa, Egypt, or Aztec Mexico, most are designed with style cube.
• Preliminary work and thoughts of the Weimar Bauhaus stage involves the appointment of himself in it.
• carvings and ancient Greek style ceramics getting a little closer to the design of "ancient period"
• The fractionated, crystalline of decorative cabbage and futuristic
• Fauve, the color palette
• Establish an annoying of Neoklasiklasik spur the formation of a radical style of art deco style: Boullée, Schinkel
• Art deco is often associated with jazz music, jazzy style Jazz Age
• Motives of animals and tropical foliage forms; ziggurats; crystal; "sunbursts"; motif fountain tailored mode
• Art deco style also affects the appearance of women, which is flexible athletic style of "modern" woman; hair cropped year marks the modern girl's l920
• Year of engine technology and radio transmitters which are found

Ornamen and symbol art deco

Paris is the center of the art of art deco design, epitomized in furniture by Jacques-Emile Ruhlmann, which we know as an expert designer of the best art deco style, and also Jean-Jacques Rateau, the firm memounyai Sue et Mare, screen Eileen Gray, wrought iron Edgar Brandt, metal and lacquer factory Jean Dunand, the glass Rene Lalique and Maurice Marinot, jewelery items and clocks by Cartier. All represent the art deco style.

Art Deco architecture in addition to receiving historical ornaments, this style also received the influence of the emerging architecture of the time. Modern architectural movement that is growing at the time the Bauhaus, De Stijl, Dutch Expressionism, International Style, Rationalism, Romanticism and Neoclassicism Scandinavian, Arts and Crafts Movement, Art Nouveau, Jugendstil and the Viennese Secession. They influence the formations of Art Deco architecture and provide modern touches. Modern at the time defined by "dared to be different and new, more attractive than others and are not ancient" all of which is manifested by a striking selection of colors, unusual proportions, the new material and decoration.

Since the number of countries that apply this style to Art Deco to grow rapidly, it is no easy definition of a style that got popular back in the 60's. Any country that receives the Art Deco style to develop it themselves, the local touch to Art Deco in a place different from the Art Deco going elsewhere. But in general they have the same passion that use traditional ornaments or historical, so the style of Art Deco is a style that has local content.

Although initially an Art Deco style that prioritizes local traditional trappings, but he was open to something new, this openness is reflected in the use of new materials and new techniques, not infrequently they do merge material, so that their work is almost always innovative and experimental.

The development of Art Deco is not free from the influence of contemporary circumstances, at that time in Europe is ongoing industrial revolution, the public was fascinated by the discoveries and technologies rapidly advancing. These characters describe the pace of technology embodied into the design in the form of curved lines and zig-zag.

The arch is shown that the expression of motion, modern technology and a sense of optimism. People often dubbed the arch with the "Ocean Liner Style" this refers to the form of cruise ships at that time the man's work to be proud of, so the formation of the vessel, a curved shape used as an expression kemoderenan.
In accordance with its influence, Art Deco is characterized by the material such as aluminum, stainless steel, lacquer, wood, sharkskin (shagreen), and zebraskin. Namely the use of bold shapes, twist and shape of the curve (not the same as the sinuous curves of art nouveau), chevron patterns and sunburst motifs. Much of this ubiquitous motif-for example, sunburst motifs used in the context of the varied with examples of this motif often digunaka in the ladies shoe, a radiator grille, the hall of the Radio Music City Hall and the spire of the Chrysler building.

The art deco style evolved during the 1920's and 1930's

Art Deco slowly disappeared from the west after a number of buildings constructed in art deco style at the time and start building ridiculed by critics as too flashy style and elegance are false. This style was later shortened by the hardness of World War II. In colonial countries such as India, this style became a gateway to modern outlook and remains in use in 1960. A resurgence of interest in Art Deco came with graphic design in 1980, where his association with film noir and the 1930 appeal to its use in ads for jewelry and fashion goods.

This is Roogalator. You probably won't have heard of them. You probably were not born then. I was, and I bought this single in 1977. I once was cool.