Lithman was born in London, England, and came from the British Blues scene. He moved to San Francisco in 1971 and became associated with the avant-garde group The Residents. It is said he was given the name 'Snakefinger' by The Residents themselves when they saw his proficiency with the guitar during their first live performance together. Another explanation for the name comes from a story concerning a party in San Francisco, at The Residents' collective, wherein all in attendance watched Lithman's fingers dart snake-like at the neck of his violin.
In 1972 Lithman returned to England and formed the pub rock band Chilli Willi & The Red Hot Peppers with Martin Stone, a fellow ex-member of Junior's Blues Band. As a duo, they released the album "Kings of the Robot Rhythm". In 1974, as a full band and popular live act in Britain, they released "Bongos Over Balham".
Chilly Willy lasted until 1975, their last record not selling well, and by 1976 Lithman was back in the United States, this time in Los Angeles, California, seeking a recording contract, shopping his rock-style demos.
After a few years, Lithman moved back to San Francisco, reconnected with The Residents, and performed and recorded with them. Lithman's solo records, recorded under the name Snakefinger, were released by The Residents' record label Ralph Records.
His first album on Ralph was "Chewing Hides the Sound" in 1979, featuring original material co-written with The Residents as well as esoteric covers like Kraftwerk's "The Model". The songs showcased Lithman's distinctive slide guitar playing and often surreal imagery. This album was followed by "Greener Postures" in 1980, which included his first solo compositions as Snakefinger.
While on tour in Australia in 1980, Lithman had a heart attack that left him hospitalized for six months.
In 1982 Lithman formed his backing band The Vestal Virgins with former Captain Beefheart sideman Eric Drew Feldman. Snakefinger and The Vestal Virgins released "Manual of Errors" on Ralph in 1982. This was followed by the blues cover album "Snakefinger's History Of The Blues- Live In Europe" in 1984 and a new collection of largely original material in 1986 called "Night of Desirable Objects".
Lithman performed with The Residents on their 13th Anniversary Tour in 1986. On July 1st, 1987, Snakefinger and his band, The Vestal Virgins, were in Linz, Austria, on the European Night tour. During a performance at the Posthof Club Lithman suffered a fatal heart attack. On that same day his single, "There's No Justice in Life", was released.
Snakefinger was buried in England. The Residents participated in a wake for him, known as The Snakey Wake, in San Francisco.
Snakefinger is sorely missed by all.
The Picture Makers
Snakefinger Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Snakefinger: What?
RZ: Hey! What-what's this we've been hearing about you, man?
You-you got some kind of a cause or something?
SN: Well, yeah, I guess!
It's the fate of the whole human race at stake!
I know something nobody else seems to know.
I don't understand it, but I know.
RZ: Hey, well, well what is it? What is it, man?
SN: It's them, the Picture Makers.
They've fooled us into thinking
They're friendly and people-minded,
But it's not true, it's just an image.
RZ: Oh yeah?
SN: Yeah!
They're deep underground
In every city and town
Living in holes like subterranean moles
Without making a sound
They've brought us decay
In such a villainous way
Well, they don't have to beat us
Because they can treat us
Like we're clowns
They're furry and vile
With a hideous smile
They're wrinkled and old
And they reek of the mold
And eat dirt by the pile.
They're clever and smart
But they're covered with warts
And some of them are quite tall
And they are all bold for awhile
RZ: Image? Image? What image?
SN: Can't you see? They're the masters of the visual image! They're coming to us disguised as a friend with a blemish, they've sucked us in; but friends, I've seen them as they really are - They're rats, tall rats! We've got to destroy them with a war!
RZ: War? No-no Way! War's no good, Snakefinger!
SN: No, no! That's what they want you to think. It's the little wars that they give us that are bad. We need a real war! But we've got to be careful until we're really strong enough.
RZ: Oh yeah?
SN: They're [a] carnivorous breed,
They're full of venom and greed
They're controlling our lives
And we have to survive
We cannot let them succeed!
Isn't it clear,
That they are here
And we're gonna find them
And we will blind them
While they bleed...
[instrumental]
We are little children of the sea
Polliwogs and golden fish are we
We could never frighten anyone
We're too busy swimming in the sun
When it began
Before we learned how to stand
We were like pieces of sand in the sea
But then we grew
And we were no longer new
And so we wanted to do as we pleased
But we take care
They are still there
Deep down below
They do not know
We are still growing strong
It will not take us long
We will soon be free!
Just like we should be!
We are little children of the sea
We are simply what we seem to be
We're happy without doing very much
But watching things that we can never touch
When it began
Before we learned how to stand
We were like pieces of sand in the sea
But then we grew
We were no longer new
And so we wanted to do what we pleased
But we take care
They are still there
Deep down below
They do not know
We will grow strong!
Won't take us long!
We will soon be free!
Just like we should be!
We are little children of the sea
Innocent and blameless souls are we
Frolicking upon the waves of light
That dance around the creatures of the night
We will soon be free!
Just like we should be!
We are little children of the sea
Knowing that someday we will be free
But only if we are cautious and take care
Never let them know that we are there...
The Picture Makers vs. Children of the Sea is a song about Snakefinger's belief that the world is being controlled by a group of subterranean creatures called the Picture Makers. The song opens with a conversation between Snakefinger and The Residents, where they ask him about his cause. Snakefinger tells them that the fate of the entire human race is at stake because the Picture Makers, who have fooled everyone into thinking they are friendly and people-minded, are actually furry, vile, and clever creatures who have brought decay to humanity in a villainous manner. Snakefinger believes that they have to be destroyed with a war.
The second part of the song is sung by the "little children of the sea," who are innocent and blameless souls who are too busy swimming in the sun to frighten anyone. They declare that they will soon be free and give a message of caution for humanity to never let the Picture Makers know that they are there. The song is a commentary on the dangers of relying too much on visual images and the power that lies in controlling them.
Line by Line Meaning
Well, yeah, I guess!
Snakefinger acknowledges having a cause to fight for.
It's the fate of the whole human race at stake!
Snakefinger believes his cause is about saving humanity.
I know something nobody else seems to know.
Snakefinger claims to have special knowledge about the enemy.
It's them, the Picture Makers.
Snakefinger reveals the name of the enemy.
They've fooled us into thinking They're friendly and people-minded, But it's not true, it's just an image.
Snakefinger believes the Picture Makers have deceived people with a false image of friendliness.
They're deep underground In every city and town Living in holes like subterranean moles Without making a sound
Snakefinger describes the enemy as being hidden underground in every town, without making a noise.
They've brought us decay In such a villainous way
Snakefinger blames the Picture Makers for hurting humanity through their villainous ways.
Well, they don't have to beat us Because they can treat us Like we're clowns
Snakefinger feels the Picture Makers have treated humanity with disrespect and ridicule.
They're furry and vile With a hideous smile
Snakefinger gives a grotesque description of the enemy's appearance.
They're wrinkled and old And they reek of the mold And eat dirt by the pile.
Snakefinger continues describing the enemy in unpleasant terms.
They're clever and smart But they're covered with warts And some of them are quite tall And they are all bold for awhile
Snakefinger notes that the enemy is intelligent but physically unattractive, yet they are confident.
Can't you see?
Snakefinger challenges those who doubt his cause's validity.
They're the masters of the visual image!
Snakefinger believes the Picture Makers have great power over people's minds through visual media.
No, no! That's what they want you to think.
Snakefinger counters the idea of not fighting a war, suspecting that this is what the enemy wants.
They're [a] carnivorous breed, They're full of venom and greed They're controlling our lives And we have to survive We cannot let them succeed!
Snakefinger warns that the Picture Makers are dangerous and must be stopped from taking over humanity's life and well-being.
We are little children of the sea Polliwogs and golden fish are we We could never frighten anyone We're too busy swimming in the sun
Snakefinger shifts to talk about another group, contrasting them with humanity and the Picture Makers.
But we take care They are still there Deep down below They do not know We are still growing strong It will not take us long We will soon be free! Just like we should be!
Snakefinger reveals the children of the sea's attitude to staying hidden yet growing strong to be free from any control.
Innocent and blameless souls are we Frolicking upon the waves of light That dance around the creatures of the night
Snakefinger admires the innocence and beauty of the children of the sea.
Knowing that someday we will be free But only if we are cautious and take care Never let them know that we are there...
Snakefinger concludes that the children of the sea also seek freedom but must remain hidden from the enemy to achieve it.
Lyrics © O/B/O APRA AMCOS
Lyrics Licensed & Provided by LyricFind
THE MOST EVER COMPANY
Picture Makers = those who manufacture images in order to sell ideas/objects to a consuming public. The irony is that the voice of Snakefinger's friend in this song is Homer Flynn, the man behind Ralph Records / The Residents "image", graphics, and advertising material. "They're coming to us disguised as a friend with a blemish, they've sucked us in" = the Cryptic Corporation often portrays The Residents as friends of the maligned, the alienated, etc. (their "demographic"), and The Residents themselves as mole-like misfits who "couldn't hold down regular jobs" (when, in reality, they are rather successful producers/marketers/business owners) "The Residents", of course, being a self-consciously fictional production of the Cryptic Corporation, an enticing image for the consumer to project himself onto, to identify with: graphics by H. Flynn, sound by H. Fox, etc. -- "The Residents" being themselves an elaborate brand image manufactured in order to market Fox/Flynn/etc.'s "product." This, of course, is perhaps only half of the truth, there is yet another layer of irony which is the sincerity of their artistic expression (at least in their early years anyway); and Cryptic/The Residents are small fries compared to the mass deceptions / images being produced nowadays by "artists", politicians, television shows, entertaining delusions & distractions of all colors and shapes and demographics...
Eric Mayer
i agree, like your interpretation, which is close to what i was thinking as i traveled to this song to listen again. it could be ironic for a slightly different reason ... Fox vs. Flynn, music vs image, Dionysus vs Apollo. Mr X and the Twins ... i think the "image" of the Residents, or any other artist who follows their conscience, as mole-like misfits is accurate, and the "producers/marketers" is more the facade. they're not rich, but they survived, making this weirdness. even if representation is inherently corrupting, something real can and has shone through, and remained, from the masters of antiquity to today's (scant) few, of which the residents i believe count
Eric Mayer
also, though i think there's been some misfires in recent years, they seem to be more sincerely artistic mistakes than evidences of insincerity, and i believe likely the fault is flynn's -- vis a vis the concepts of tweedles, voice of midnight, which i think are fairly dismal -- the ughs! the hardy-only version of voice of midnight remains excellent, and even flynn's conceptual problems are missteps on what's been a goldmine of a career of ideas -- wormwood, animal lover, the bunny boy -- all solid gold to me as much as the early work. now, post-hardy, weak stuff like intruders make me doubt in what remains of the residents' career they can manifest the same magic, but intruders i will say is an interesting idea, and what it's lacking is good music to back it up. so, beyond music v, image, i think the residents are one peerless modern composer and one exemplary poet, who has some problems with being a "picture-maker" but when he makes contact, its as peerless as hardy consistently is
THE MOST EVER COMPANY
@Eric Mayer yeah, there's the ambiguity between which is more "real", the artist side or the business aspect -- of course, there's no easy answer, but the artist side is perhaps the "source" while the business side is the "messenger" -- Shem and Shaun, basically, the Pen and the Post. You need both equal & opposite to form the whole (HCE).
Eric Mayer
@THE MOST EVER COMPANY haha ... a riverrun of crime to howth castle & environs
Eric Mayer
@THE MOST EVER COMPANY flynn's again awake
darkheartlightsoul
Snakefinger is highly trustworthy
THEXDIMENSIONS
We'll find them snakefinger. No worries
Jeremy Evans
I am fond of the melodica and golden fish and The Guv