Come down on the 10th for this gig at Babushka, CLAP HANDS‘ last for the year.
Inspired by Shit Narnia’s track ‘Dog Wedding’.
Richard En 2015.
suicide, catholicism cw //
“So Dante recalls in sound the death of Judas in the death of Pier della Vigna for the same crimes of avarice and treachery. Ahithophel, Judas, your own Pier della Vigna. Avarice, hanging, self-destruction, with avarice counting as self-destruction as much as hanging. And what does the anonymous Florentine suicide say in his torment at the end of the canto? Io fei gibetto a me de le mie case. – – And I – I made my own house be my gallows.”
// Hannibal by Thomas Harris, New York, 1999, 221-234.
American Idiot, Green Day (Reprise, 2004)
I bought my first album, American Idiot, in 2005. Yes, a decade has passed where American Idiot exists, there are fifth graders who have never known a world without American Idiot. I was 14 and I bought it for $20 of Christmas money from Sanity because I liked the title track. I listened to it addictively for over a year, idolising this ‘Saint Jimmy’ character and his politically enraged partner ‘Whatsername’, and relating strongly to lyrics like, “where will all the martyrs go when the virus kills itself / and where will we all go when it’s too late?” – shit’s deep. Listening to nothing but Green Day’s American Idiot through my formative years lead my 14 year old self to dark places from internet forums on political anarchism and narcotic drugs, to buying a Green Day poster for half price from the local record store when it closed down in 2006 and painting anarchy As on my converse sneakers in puff paint. Several of my friends claim that they enjoyed Green Day as teenagers, but none of them liked American Idiot. Wait, did you want me to say it’s crap in hindsight? Fuck off. They might have only use four chords and ripped off all that was holy, but Green Day introduced me to punk, political resistance and the idea that I mattered. I still think it’s fucking great. Happy 10th Anniversary Saint Jimmy. Ⓐ
- Richard Moore (24), 2015
First published by Pelican Magazine Issue 86 Edition 1, 2015. Conceptualised and complied by music editor Hugh Manning. You can read the rest of this article with submissions by Bridget Rumball, Laurent Shervington and Lauren Crosser on Issuu below, page 31. The featured artwork was completed in black ink.
‘Richey Edwards’, ink, ballpoint, and watercolours, r. x 2012-14.
‘Literary Taboo Illustration’ by Richard Moore, ink, 2014.
First published in Pelican Magazine Ed 4 Vol 85.
Ink and marker, r. x 2011.