With the hole now drilled in the roof it was necessary to remove the 2 ton clasp on the block & tackle to expose the chain link. This granted additional height to remove the domed roof. The chain was then bolted to the roof. Making sure the old bolts securing the dome were free, I carefully positioned the kiosk directly under the gantry, thanks to my ‘dolly skids’. These ‘skids’ allow me to move a K6, weighing 750 kgs, with ease on flat smooth ground. With a few grasps at the load chain the damaged roof was lifted clear of the transom rails, to which the roof section was pulled clear of the K6 on the gantry. The K6 was then pushed clear of the beamed gantry.
Just a quick post today from the phone, to try out the excellent wordpress for iPhone app. I had a meeting on Wednesday in London at the Institute of Musical Research. It’s a group called the UK Popular Musicologists’ Collocquium and represents an all-too-rare chance for (popular) music staff from different universities to get together and discuss academic articles and analysis relating to popular musicology. There are about eight of us the meetings, which are chaired/organised by Allan Moore (editor of Popular Music Journal), and we get together every six months or so in Guildford or at the IMR (any musicologists reading this, do feel free to get in touch with Allan if you’re interested in becoming involved). I’ve made a basic WordPress/edublogs site so we can collect together study materials and YouTube links – UKPMC site.
This meeting’s theme was discussion and analysis relating to a particular track – Prince’s ‘When Doves Cry’. It is a fascinating song (noted for its lack of bass line) in that it appears to be based on one eight-bar chord loop – Am | G | G | Am | Am | G | G | E7 Am | – but is actually based on a four-bar loop that is only actually stated halfway through the track – | Am | Dm/A | G | E7+5/G# E7/G# | (hey, this stuff keeps me awake at night).
Like any multi-million-selling song, it’s always interesting to note just how well-constructed it is – and to make inferences about why it was so successful. It seems to obey most of the general ‘rules’ of songwriting (lots of primary and secondary hooks, lots of monosyllables, effective lyric imagery, economical use of language, clear meaning, unusual title) while deliberately challenging them in other ways (relentless/repetitive chord loop, quirky rock-funk guitar solo intro followed by guitar-less arrangement, slightly mad lyric lines “animals strike curious poses”, classical extended mono-synth outro). Prince, for me, is like Bono or Sting – however smug or irritating they might seem as people, you have to admire the sheer talent at work.
And, as a bonus, while walking past Hyde Park I got to see five K6s all together. If you’re unsure why I have become such a phonebox geek you need to read this previous post. After which you may still be unsure.