The washing machine, meanwhile, is fundamentally a stress-inducing convenience of modern life. Save for, say, Mr. Fingers' iconic 1986 track 'Washing Machine,' which introduced a minimalist edge to dance music with its warm liquid synths and its cylical song structure, and the scene in John Candy comedy "Uncle Buck" where it sounds like he's fucking when he's really just struggling with a washing machine, it's kind of a bulky, decidedly not-fun object. "The washing machine serves as an appliance and acts as an element of prestige," Jean Baudrillard wrote in "The Consumer Society: Myths and Structures," first published in 1970. "All kinds of other objects may be substituted here for the washing machine as signifying element. In the logic of signs, as in that of symbols, objects are no longer linked in any sense to a definite function or need. Precisely because they are responding here to something quite different, which is either the social logic or the logic of desire, for which they function as a shifting and unconscious field of signification." Some of that academic baggage is flopping around inside of "Ultimate Care II" as well—capitalism, consumerism, waste, and status but it's all filtered through exploratory fun.