Jon King (musician)
| Jon King | |
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| Background information | |
| Birth name | Jonathan Michael King |
| Born |
8 June 1955 Southwark, London, England |
| Genres | Rock, post-punk |
| Occupation(s) | Musician, singer-songwriter |
| Instruments | Vocals, percussion |
| Associated acts | Gang of Four |
Jonathan Michael "Jon" King (born 8 June 1955 in Southwark, London) is an English singer, musician and founding member of the Leeds-based post-punk band Gang of Four.
He attended Sevenoaks School, where he was a member of the 'Art Room' that produced musicians Tom Greenhalgh and Mark White of The Mekons, along with Andy Gill of Gang of Four, Adam Curtis, the award-winning British documentarian and writer, and Paul Greengrass, the film director, screenwriter and former journalist famous for the Bourne identity franchise. The band's lyricist and co-songwriter, he sings in the group as well as playing melodica and percussion such as a microwave oven or wooden block (using a baseball bat or a stick), the latter notably on the song "He'd Send in the Army." Jon Pareles in The New York Times described King's lyrics as "bitterly analytical, infused with theories from Marx, Adorno, Baudrillard and Godard, and the band was determined to puncture pop romance with the consciousness that people are manipulated by power economics, media and marketing.Why not write about ideas? Mr. King said. " – Source Jon Pareles, New York Times, 24 January 2005. Jon King co-wrote and co-produced the groundbreaking Entertainment!, Gang of Four's debut album, regularly listed as among the top 100 albums of all time and described by Rolling Stone magazine as "the best debut album by a British band – punk or otherwise – since the original English release of The Clash in 1977.
Referring to the influence of Situationist ideas on Gang of Four's work, Jon King remarked, in a 1980 letter to Greil Marcus, that "where I think that Situationism was good was in the development of its revolutionary tactic: 'reinvesting' the cultural past. Situationism conspicuously used popular imagery in order to subvert it – to make the familiar strange, rather than rejecting the familiar out of hand. The tactic was good, worth ripping off, as in the Entertainment! cover, or the original 'Damaged Goods' sleeve." In an interview with NPR the author (NPR staff) state "King's lyrics have always meant different things to different people. Some see his words as a reaction to Margaret Thatcher, unemployment in early-'80s Britain or the unraveling of the unions. But King says he was more interested in "changing the meaning of things by the label." King says, in the same feature :"I remember when I was 15, I got incredibly excited when I found some grubby old book in a secondhand bookshop about the revolution in Paris in 1968," King says. "There was a picture, which I still cherish – it was a photograph for some kind of perfume and a very glamorous-looking woman on this poster, and someone had written on it in French: 'You know I know I'm exploiting you, but I'm not doing it on purpose.' I got terribly excited by the fact ... you can change the meaning of things by the label... I wondered how one could play around with these sorts of ideas in music"
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