#cosey fanni tutti
Peter Christopherson and Cosey Fanni Tutti / Throbbing Gristle
Frankford Germany 1980 from Sounds Magazine
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Play a tiny ruse
Play a little game
Play your little game
Without any name
Put a record on
Put a record on
Maggot death
Maggot death
Maggot death
Maggot death
Maggot death
Maggots loose
Bad for you
I walk your park
A walk in the park
Feel the same
Play for time
I see the wife every time
I see the white leather thights
I got an act you want
I tell you what to do
I’m gonna ask you home
I know just what to do
Maggot death
Maggot death
Maggot death
Maggot death
Maggot death
Maggot death
What did you want
Just a silly tart
You gotta go out now
Make you pay for death
Maggot death
Maggot death (just you)
You’re just a lump in my bed
Eating up my head
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Chris & Cosey, 1981.
Cosey Fanni Tutti:
I didn’t want to make any sense out of it, not my sense anyway, because the whole point of the project, was that it was what had made sense to the sex industry. I surrendered myself into that industry to be used as they use any other girl, but I didn’t let them know who I was or anything or why I was doing it, otherwise it would be pointless, because I wouldn’t be treated the same way. What I wanted to reveal was the, the thinking of the industry and how different magazines were for different markets. Like you were saying, magazines are so portable, little pocket-size, so people can potentially have them with them all the time, this gives the industry a head start. What was exciting to me, and what I wanted to show, was the differences and the different kind of varied customer-led images that the publishers wanted, even down to the certain positions, the clothing… You’d get the top end, very glamorous ones, like Men Only and Penthouse, which remove a lot of reality away, so that it becomes very much fantasy. But in a different way to the fantasy of the small pocket-size book that’s in black and white with just a couple of colour pages, more or less ‘Readers Wives’ kind of photographs, as if it was the woman next door and the reader is looking through the keyhole. If that was what they were going for, then they’d bring someone who looked like that in and put you together, to do whatever you do together, you know. So that interested me a lot, very specific.
The language in some of those magazines was sometimes quite shocking. There was one phrase in a magazine I did some work in The Piccadilly. So the whole 80 odd pages were framed up in three frames, a real eye-opener, at the end of one of the magazines and it said ‘Does she stink?’ and then there was like an open crotch shot. To me was just like so insulting and really what they were saying, I mean it was a double meaning obviously, but what they were saying was, ‘Is she any good or is this one better, whichever one you decide we’ll put here in the magazine next month.’ But to see it, ‘Does she stink?’ it was just absolutely horrible, and it wasn’t like the lowest of the lowest genre by any means.
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