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 Post subject: White Heavy Metal dudes reacting to Rap on the yooutubes?!
PostPosted: Sat Dec 29, 2018 1:54 pm 

Joined: Mon Oct 15, 2012 7:47 pm
Posts: 2333
Location: Concordia

I LOL'd more than a few times. I guess this is a "thing" now?!? Kinda fun to watch, tbh.

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 Post subject: Re: White Heavy Metal dudes reacting to Rap on the yooutubes
PostPosted: Sat Dec 29, 2018 3:35 pm 

Joined: Mon Sep 17, 2012 9:37 am
Posts: 824
Location: A grave in Ireland
libertycaps wrote:

I LOL'd more than a few times. I guess this is a "thing" now?!? Kinda fun to watch, tbh.



Listening to Bell Witch doesn't make you metal. Wearing those denim jackets with the patches doesn't either. You think you're metal because you collected a bunch of vinyl and t-shirts, or because you're a member of Blackwater posting on Facebook? You're not metal. Have you ever even listened to Internal Bleeding? Has your voice cracked screaming "I CUM BLOOD" at the Cannibal Corpse show in a hot basement in Buffalo NY? Have you ever been punched in the throat by Robb Flynn after getting drunk and throwing beer bottles at a Machine Head show in Kenosha? I didn't think so. There is no more metal anymore. Metal died in the 90's and all this stuff that people call metal now is just the ghost of a long dead scene. Even bands like The Body and Full of Hell are just a parody of what real metal once was. None of you are metal. You're just scene kids that grew up and think you're cool now because you like Sunn O))) and pretend to listen to Boris while drinking overpriced craft beer at a downtown venue. Real metal isn't about merch and vinyl and shitposting on Facebook groups. Real metal is about reevaluating your life at middle age and realizing that you went to too many shows when you were young and maybe you should have spent that time and money learning how to play the stock market. Real metal is playing a basement show for free with your mostly balding bandmates because you need free beer because you just paid your ex-wife's rent. Real metal is pure misery and you fake metalheads seem so happy.

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 Post subject: Re: White Heavy Metal dudes reacting to Rap on the yooutubes
PostPosted: Sat Dec 29, 2018 5:05 pm 

Joined: Mon Oct 15, 2012 7:47 pm
Posts: 2333
Location: Concordia
Erm, yeah. Thanks again for shitting yourself over nothing. Fuckin' drameh queer.
ATTN: Captain Fagship Snowflake M@sshole. Go die of AIDS already.

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 Post subject: Re: White Heavy Metal dudes reacting to Rap on the yooutubes
PostPosted: Sat Dec 29, 2018 8:08 pm 

Joined: Mon Sep 17, 2012 9:37 am
Posts: 824
Location: A grave in Ireland
Whoops, somebody obviously doesn't have FB. Carry on, my wayward son....

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This cosmic dance of bursting decadence and withheld permissions twists all our arms collectively, but if sweetness can win, and it can, then I'll still be here tomorrow to high five you yesterday. Peace!
http://www.facebook.com/PalaceInThunderland
http://palaceinthunderland.bandcamp.com


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 Post subject: Re: White Heavy Metal dudes reacting to Rap on the yooutubes
PostPosted: Sat Dec 29, 2018 10:21 pm 

Joined: Mon Oct 15, 2012 7:47 pm
Posts: 2333
Location: Concordia
https://www.hiv.va.gov/patient/faqs/life-expectancy-with-HIV.asp

Oh. Go fuck you in the Facebook, half-a-fag. Why? Cuz Facebook is for self-absorbed, narcissist buttholes like yourself. Some lite reading linked above until you die, cocksucker.

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 Post subject: Re: White Heavy Metal dudes reacting to Rap on the yooutubes
PostPosted: Mon Dec 31, 2018 4:46 am 

Joined: Mon Sep 17, 2012 9:37 am
Posts: 824
Location: A grave in Ireland
libertycaps wrote:

I LOL'd more than a few times. I guess this is a "thing" now?!? Kinda fun to watch, tbh.



Louis C.K. just wants to live in a world where he can jack off in front of girls who don’t want him to jack off in front of them, and us to all just get over it. Stop being so P.C., everybody. It’s costing him a lot of money.

A leaked set from Louis C.K.’s controversial turns at the mic at the Comedy Cellar in 2018 has social media up in arms—and for good reason. When transcribed, it puts in bold, italics, underline, highlighter, hieroglyphics, pantomime, whatever you need to understand it: Even though he pledged to be the good guy after all this, he’s annoyed that, just a year later, he’s still persona non grata.

The latter half of 2018 has followed a natural progression. We had been so obsessed with the shitty men. Now what happens to those shitty men? Louis C.K. was supposed to be the perfect test case of how to seek redemption. Then he exposed himself again—this time as a smug piece of shit.

The best introduction into this is the tweet that first alerted us to this leaked set (which has since been deleted), allegedly recorded December 16 at Manhattan’s Comedy Cellar, where C.K. had sporadically been performing “comeback” sets for months, to polarized responses.

Twitter user @MikeLeePearl, tweeting out segments of the set, called back Louis’ statement made after several women had come forward to allege incidents of sexual misconduct, in a meme style that’s meant to illustrate how much a person has (or hasn’t) learned in a specific period of time.

#METOO?

Louis C.K. Hasn’t Earned His Redemption

Danielle Tcholakian

NO LAUGHING MATTER

Louis C.K.’s Powerful Army of Celebrity Enablers

Marlow Stern

TOO SOON

Female Comedians Are Disgusted by Louis C.K’s ‘Comeback’

Matt Wilstein

In 2017, after the accusations came out, Louis C.K. said, as Pearl recalls: “I have spent my long and lucky career talking and saying anything I want. I will now step back and take a long time to listen.”

He contrasts that with quotes from the set in which C.K. made transphobic and demeaning remarks about gender identity. More, these offensive remarks come after the comedian had also gone to the mic to talk about the “$35 million in an hour” he lost after he admitted to masturbating in front of several female comics. (Those comics, for what it’s worth, have braved the stormy response to their coming forward with their stories and the treatment they’ve received since.)

In the set we’re specifically referring to, C.K. talks about how he was excited to be in his fifties and be belligerent toward younger kids in their twenties and their ideas, only to be shocked by the extent of their progressivism.

Basically, he reinvented himself as your new favorite alt-right comedian.

He bemoans how younger people will tell him, in relation to gender identification, that he has to use specific pronouns preferred by the person. “They’re like royalty!” he said. “They tell you what to call them. ‘You should address me as they/them, because I identify as gender neutral.’ Oh, OK. You should address me as ‘there’ because I identify as a location. And the location is your mother’s cunt.”

At face value, that’s a lazy comedy set. A “kids these days” joke related to gender identity is phoned in, and, more, adds nothing to any cultural discourse besides an expressed intent to undermine it. Considering that Louis C.K.’s comedy has always been considered to set cultural discourse, this seems an intentional decision to mock this particular aspect of it.

We can already see the “snowflake!” critics coming at us like a blizzard, so let’s also point out some other jokes he made in his set. For example, there’s the major set-up in which he continues his grievances about the new “woke” generation by belittling the survivors of the Parkland shooting for devoting their time to crusading for policy reform and joking that they probably just threw a fat kid in the line of fire to survive, anyway.

“You didn’t got shot, you pushed some fat kid in the way, and now I’ve gotta listen to you talking?”

“They testify in front of Congress, these kids? What are they doing?,” he said. “You’re young, you should be crazy, you should be unhinged, not in a suit…you’re not interesting. Because you went to a high school where kids got shot? Why does that mean I have to listen to you?…You didn’t got shot, you pushed some fat kid in the way, and now I’ve gotta listen to you talking?”

There has been a lot of conversation about Louis C.K.’s Comedy Cellar setsand his likelihood of making a “comeback” in recent months. Some fans have been thrilled by his surprise appearances to work out new material. Others have been triggered by the warm response a #MeToo-implicated celebrity received, and were affronted by the insinuation that he could show up by surprise at a comedy show and everyone was meant to applaud.

The truth is, and we’re self-aware enough to admit it, that in the conversation about the paths to a comeback we’re talking about with so many male celebrities, Louis C.K. may have had the easiest one. The work he has created, be it Louie or his stand-up, is so celebrated by liberal, progressive critics that there would likely have been an eager leap to forgiveness had he handled the aftermath with any sort of contrition, education, campaigning or awareness.

Instead, we’ve been greeted by smugness, pettiness, offensiveness, and frustration, the kind that signals nothing learned—when the base level for some of our forgiveness is anything learned—and a pandering to the kind of community that will cheer his ignorance and amplify his message.

He’s had the opportunity to champion a lesson that leads us forward in this conversation. It may not be an opportunity he volunteered for, but he’s now obligated to perform the community service. And he’s not just ditching it. He’s rejecting it completely.

We’ve frankly become exhausted by typing the phrase “when someone shows you who they are, believe them” this past year. What’s been particularly challenging with Louis C.K. is not just believing them, but trying to understand how, and why. This doesn’t seem like the same person who was once the most important and influential mind in comedy.

His actions are inexcusable. His refusal to apologize would be flabbergasting enough. But to pivot to alt-right pandering is just plain disgusting. He’s shown who he is.

_________________
This cosmic dance of bursting decadence and withheld permissions twists all our arms collectively, but if sweetness can win, and it can, then I'll still be here tomorrow to high five you yesterday. Peace!
http://www.facebook.com/PalaceInThunderland
http://palaceinthunderland.bandcamp.com


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 Post subject: Re: White Heavy Metal dudes reacting to Rap on the yooutubes
PostPosted: Mon Dec 31, 2018 8:04 pm 

Joined: Mon Oct 15, 2012 7:47 pm
Posts: 2333
Location: Concordia

I agree. Slammin' track.

Oh. Fuck you, Andy. Go trolling for some other anus. Not interested....mmm-kay?!?

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 Post subject: Re: White Heavy Metal dudes reacting to Rap on the yooutubes
PostPosted: Wed Jan 02, 2019 10:51 am 

Joined: Mon Sep 17, 2012 9:37 am
Posts: 824
Location: A grave in Ireland
libertycaps wrote:

I LOL'd more than a few times. I guess this is a "thing" now?!? Kinda fun to watch, tbh.



Northrop Frye discussed what he termed a "continuum of allegory", a spectrum that ranges from what he termed the "naive allegory" of The Faerie Queene, to the more private allegories of modern paradox literature.[7] In this perspective, the characters in a "naive" allegory are not fully three-dimensional, for each aspect of their individual personalities and the events that befall them embodies some moral quality or other abstraction; the allegory has been selected first, and the details merely flesh it out.

Many ancient religions are based on astrological allegories, that is, allegories of the movement of the sun and the moon as seen from the Earth.[citation needed]

Classical allegoryEdit

The origins of Allegory can be traced at least back to Homer in his "quasi-allegorical" use of personifications of, e.g., Terror (Deimos) and Fear (Phobos) at Il. 115 f. [8] The title of "first allegorist," however, is usually awarded to whoever was the earliest to put forth allegorical interpretations of Homer. This approach leads to two possible answers: Theagenes of Rhegium (whom Porphyry calls the "first allegorist," Porph. Quaest. Hom. 1.240.14-241.12 Schrad.) or Pherecydes of Syros, both of whom are presumed to be active in the 6th century B.C.E., though Pherecydes is earlier and as he is often presumed to be the first writer of prose. The debate is complex, since it demands we observe the distinction between two often conflated uses of the Greek verb "allēgoreīn," which can mean both "to speak allegorically" and "to interpret allegorically." [9]

In the case of "interpreting allegorically," Theagenes appears to be our earliest example. Presumably in response to proto-philosophical moral critiques of Homer (e.g. Xenophanes fr. 11 Diels-Kranz [10]), Theagenes proposed symbolic interpretations whereby the Gods of the Iliad actually stood for physical elements. So, Hephestus represents Fire, for instance (for which see fr. A2 in Diels-Kranz [11]). Some scholars, however, argue that Pherecydes cosmogonic writings anticipated Theagenes allegorical work, illustrated especially by his early placement of Time (Chronos) in his genealogy of the gods, which is thought to be a reinterpretation of the titan Kronos, from more traditional genealogies.

In classical literature two of the best-known allegories are the Cave in Plato's Republic(Book VII) and the story of the stomach and its members in the speech of Menenius Agrippa (Livy ii. 32).

Among the best-known examples of allegory, Plato's Allegory of the Cave, forms a part of his larger work The Republic. In this allegory, Plato describes a group of people who have lived chained in a cave all of their lives, facing a blank wall (514a–b). The people watch shadows projected on the wall by things passing in front of a fire behind them and begin to ascribe forms to these shadows, using language to identify their world (514c–515a). According to the allegory, the shadows are as close as the prisoners get to viewing reality, until one of them finds his way into the outside world where he sees the actual objects that produced the shadows. He tries to tell the people in the cave of his discovery, but they do not believe him and vehemently resist his efforts to free them so they can see for themselves (516e–518a). This allegory is, on a basic level, about a philosopher who upon finding greater knowledge outside the cave of human understanding, seeks to share it as is his duty, and the foolishness of those who would ignore him because they think themselves educated enough.[12]

In Late Antiquity Martianus Capella organized all the information a fifth-century upper-class male needed to know into an allegory of the wedding of Mercury and Philologia, with the seven liberal arts the young man needed to know as guests.[13]

Biblical allegoryEdit

Other early allegories are found in the Hebrew Bible, such as the extended metaphor in Psalm 80 of the Vine and its impressive spread and growth, representing Israel's conquest and peopling of the Promised Land.[14] Also allegorical is Ezekiel 16 and 17, wherein the capture of that same vine by the mighty Eagle represents Israel's exile to Babylon.[15]

Allegorical interpretation of the Bible was a common early Christian practice and continues. For example, the recently re-discovered IVth Commentary on the Gospels by Fortunatianus of Aquileia has a comment by its English translator: The principal characteristic of Fortunatianus’ exegesis is a figurative approach, relying on a set of concepts associated with key terms in order to create an allegorical decoding of the text. (pXIX)

Medieval allegoryEdit

British School 17th century – Portrait of a Lady, Called Elizabeth, Lady Tanfield. Sometimes the meaning of an allegory can be lost, even if art historians suspect that the artwork is an allegory of some kind.[16]

Main article: Allegory in the Middle Ages

Allegory has an ability to freeze the temporality of a story, while infusing it with a spiritual context. Mediaeval thinking accepted allegory as having a reality underlying any rhetorical or fictional uses. The allegory was as true as the facts of surface appearances. Thus, the Papal Bull Unam Sanctam (1302) presents themes of the unity of Christendomwith the pope as its head in which the allegorical details of the metaphors are adduced as facts on which is based a demonstration with the vocabulary of logic: "Therefore of this one and only Church there is one body and one head—not two heads as if it were a monster... If, then, the Greeks or others say that they were not committed to the care of Peter and his successors, they necessarilyconfess that they are not of the sheep of Christ." This text also demonstrates the frequent use of allegory in religious texts during the Mediaeval Period, following the tradition and example of the Bible.

In the late 15th century, the enigmatic Hypnerotomachia, with its elaborate woodcut illustrations, shows the influence of themed pageants and masques on contemporary allegorical representation, as humanist dialectic conveyed them.

The denial of medieval allegory as found in the 12th-century works of Hugh of St Victorand Edward Topsell's Historie of Foure-footed Beastes (London, 1607, 1653) and its replacement in the study of nature with methods of categorisation and mathematics by such figures as naturalist John Ray and the astronomer Galileo is thought to mark the beginnings of early modern science.[17]

Modern allegoryEdit

Since meaningful stories are nearly always applicable to larger issues, allegories may be read into many stories which the author may not have recognised. This is allegoresis, or the act of reading a story as an allegory. Examples of allegory in popular culture that may or may not have been intended include the works of Bertolt Brecht, and even some works of science fiction and fantasy, such as The Chronicles of Narnia by C.S. Lewis and A Kingdom Far and Clear: The Complete Swan Lake Trilogy by Mark Helprin.

The story of the apple falling onto Isaac Newton's head is another famous allegory. It simplified the idea of gravity by depicting a simple way it was supposedly discovered. It also made the scientific revelation well known by condensing the theory into a short tale.

Poetry and fictionEdit

Detail of Laurent de La Hyre's Allegory of Arithmetic, c. 1650

It is important to note that while allegoresis may make discovery of allegory in any work, not every resonant work of modern fiction is allegorical, and some are clearly not intended to be viewed this way. According to Henry Littlefield's 1964 article, L. Frank Baum's The Wonderful Wizard of Oz, may be readily understood as a plot-driven fantasy narrative in an extended fable with talking animals and broadly sketched characters, intended to discuss the politics of the time.[18] Yet, George MacDonald emphasised in 1893 that "A fairy tale is not an allegory."[19]

J.R.R. Tolkien's The Lord of the Rings is another example of a well-known work mistakenly perceived as allegorical, as the author himself once stated, "...I cordially dislike allegory in all its manifestations, and always have done so since I grew old and wary enough to detect its presence. I much prefer history – true or feigned– with its varied applicability to the thought and experience of readers. I think that many confuse applicability with allegory, but the one resides in the freedom of the reader, and the other in the purposed domination of the author."[20]

Tolkien specifically resented the suggestion that the book's One Ring, which gives overwhelming power to those possessing it, was intended as an allegory of nuclear weapons. He noted that, had that been his intention, the book would not have ended with the Ring being destroyed but rather with an arms race in which various powers would try to obtain such a Ring for themselves. Then Tolkien went on to outline an alternative plot for "Lord of The Rings", as it would have been written had such an allegory been intended, and which would have made the book into a dystopia. While all this does not mean Tolkien's works may not be treated as having allegorical themes, especially when reinterpreted through postmodern sensibilities, it at least suggests that none were conscious in his writings. This further reinforces the idea of forced allegoresis, as allegory is often a matter of interpretation and only sometimes of original artistic intention.

Like allegorical stories, allegorical poetry has two meanings – a literal meaning and a symbolic meaning.

Some unique specimens of allegory can be found in the following works:

Edmund Spenser – The Faerie Queene: The several knights in the poem actually stand for several virtues.William Shakespeare – The Tempest: a fight between good and evil on a deserted islandJohn Bunyan – The Pilgrim's Progress: The journey of the protagonists Christian and Evangelist symbolises the ascension of the soul from earth to Heaven.Nathaniel Hawthorne – Young Goodman Brown: The Devil's Staff symbolises defiance of God. The characters' names, such as Goodman and Faith, ironically serve as paradox in the conclusion of the story.Nathaniel Hawthorne – The Scarlet Letter: The scarlet letter symbolises many things. The characters, while developed with interiority, are allegorical in that they represent ways of seeing the world. Symbolism is also prominent.George Orwell – Animal Farm: The pigs stand for political figures of the Russian Revolution.László Krasznahorkai - The Melancholy of Resistance and the film Werckmeister Harmonies: It uses a circus to describe an occupying dysfunctional government.Edgar Allan Poe – The Masque of the Red Death: The story can be read as an allegory for humans' inability to escape death.[21]Arthur Miller – The Crucible: The Salem witch trials are thought to be an allegory for McCarthyism and the blacklisting of Communists in the United States of America.ArtEdit

Some elaborate and successful specimens of allegory are to be found in the following works, arranged in approximate chronological order:

Ambrogio Lorenzetti – Allegoria del Buono e Cattivo Governo e loro Effetti in Città e Campagna (c. 1338–1339)Sandro Botticelli – Primavera (c. 1482)Albrecht Dürer – Melencolia I (1514)Bronzino – Venus, Cupid, Folly and Time (c. 1545)The English School's – "Allegory of Queen Elizabeth" (c. 1610)Artemisia Gentileschi – Allegory of Inclination (c. 1620), An Allegory of Peace and the Arts under the English Crown (1638); Self-Portrait as the Allegory of Painting (c. 1638–39)The Feast of Herod with the Beheading of St John the Baptist by Bartholomeus Strobel is also an allegory of Europe in the time of the Thirty Years War, with portraits of many leading political and military figures.Jan Vermeer – Allegory of Painting (c. 1666)Jean-Léon Gérôme – Truth Coming Out of Her Well (1896)Marcel Duchamp – The Bride Stripped Bare by Her Bachelors, Even (1912–1923)Graydon Parrish – The Cycle of Terror and Tragedy (2006)Many statues of Lady Justice: "Such visual representations have raised the question why so many allegories in the history of art, pertaining occupations once reserved for men only, are of female sex."[22]Damien Hirst – Verity (2012)

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This cosmic dance of bursting decadence and withheld permissions twists all our arms collectively, but if sweetness can win, and it can, then I'll still be here tomorrow to high five you yesterday. Peace!
http://www.facebook.com/PalaceInThunderland
http://palaceinthunderland.bandcamp.com


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 Post subject: Re: White Heavy Metal dudes reacting to Rap on the yooutubes
PostPosted: Wed Jan 02, 2019 8:50 pm 

Joined: Mon Oct 15, 2012 7:47 pm
Posts: 2333
Location: Concordia
Trolls suck dick and so do you.

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 Post subject: liberty caps = troll
PostPosted: Thu Jan 03, 2019 10:06 am 

Joined: Fri Sep 29, 2017 1:10 pm
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 Post subject: Re: White Heavy Metal dudes reacting to Rap on the yooutubes
PostPosted: Thu Jan 03, 2019 3:52 pm 

Joined: Mon Oct 15, 2012 7:47 pm
Posts: 2333
Location: Concordia

Agree with 'em on this one. meh.

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 Post subject: Re: White Heavy Metal dudes reacting to Rap on the yooutubes
PostPosted: Fri Jan 04, 2019 11:58 am 

Joined: Mon Sep 17, 2012 9:37 am
Posts: 824
Location: A grave in Ireland
libertycaps wrote:

I LOL'd more than a few times. I guess this is a "thing" now?!? Kinda fun to watch, tbh.



April is the cruellest month, breeding

Lilacs out of the dead land, mixing

Memory and desire, stirring

Dull roots with spring rain.

Winter kept us warm, covering

Earth in forgetful snow, feeding

A little life with dried tubers.

Summer surprised us, coming over the Starnbergersee

With a shower of rain; we stopped in the colonnade,

And went on in sunlight, into the Hofgarten,

And drank coffee, and talked for an hour.

Bin gar keine Russin, stamm’ aus Litauen, echt deutsch.

And when we were children, staying at the arch-duke’s,

My cousin’s, he took me out on a sled,

And I was frightened. He said, Marie,

Marie, hold on tight. And down we went.

In the mountains, there you feel free.

I read, much of the night, and go south in the winter.


  What are the roots that clutch, what branches grow

Out of this stony rubbish? Son of man,

You cannot say, or guess, for you know only

A heap of broken images, where the sun beats,

And the dead tree gives no shelter, the cricket no relief,

And the dry stone no sound of water. Only

There is shadow under this red rock,

(Come in under the shadow of this red rock),

And I will show you something different from either

Your shadow at morning striding behind you

Or your shadow at evening rising to meet you;

I will show you fear in a handful of dust.

                      Frisch weht der Wind

                      Der Heimat zu

                      Mein Irisch Kind,

                      Wo weilest du?

“You gave me hyacinths first a year ago;

“They called me the hyacinth girl.”

—Yet when we came back, late, from the Hyacinth garden,

Your arms full, and your hair wet, I could not

Speak, and my eyes failed, I was neither

Living nor dead, and I knew nothing,

Looking into the heart of light, the silence.

Oed’ und leer das Meer.


  Madame Sosostris, famous clairvoyante,

Had a bad cold, nevertheless

Is known to be the wisest woman in Europe,

With a wicked pack of cards. Here, said she,

Is your card, the drowned Phoenician Sailor,

(Those are pearls that were his eyes. Look!)

Here is Belladonna, the Lady of the Rocks,

The lady of situations.

Here is the man with three staves, and here the Wheel,

And here is the one-eyed merchant, and this card,

Which is blank, is something he carries on his back,

Which I am forbidden to see. I do not find

The Hanged Man. Fear death by water.

I see crowds of people, walking round in a ring.

Thank you. If you see dear Mrs. Equitone,

Tell her I bring the horoscope myself:

One must be so careful these days.


  Unreal City,

Under the brown fog of a winter dawn,

A crowd flowed over London Bridge, so many,

I had not thought death had undone so many.

Sighs, short and infrequent, were exhaled,

And each man fixed his eyes before his feet.

Flowed up the hill and down King William Street,

To where Saint Mary Woolnoth kept the hours

With a dead sound on the final stroke of nine.

There I saw one I knew, and stopped him, crying: “Stetson!

“You who were with me in the ships at Mylae!

“That corpse you planted last year in your garden,

“Has it begun to sprout? Will it bloom this year?

“Or has the sudden frost disturbed its bed?

“Oh keep the Dog far hence, that’s friend to men,

“Or with his nails he’ll dig it up again!

“You! hypocrite lecteur!—mon semblable,—mon frère!”



              II. A Game of Chess


The Chair she sat in, like a burnished throne,

Glowed on the marble, where the glass

Held up by standards wrought with fruited vines

From which a golden Cupidon peeped out

(Another hid his eyes behind his wing)

Doubled the flames of sevenbranched candelabra

Reflecting light upon the table as

The glitter of her jewels rose to meet it,

From satin cases poured in rich profusion;

In vials of ivory and coloured glass

Unstoppered, lurked her strange synthetic perfumes,

Unguent, powdered, or liquid—troubled, confused

And drowned the sense in odours; stirred by the air

That freshened from the window, these ascended

In fattening the prolonged candle-flames,

Flung their smoke into the laquearia,

Stirring the pattern on the coffered ceiling.

Huge sea-wood fed with copper

Burned green and orange, framed by the coloured stone,

In which sad light a carvéd dolphin swam.

Above the antique mantel was displayed

As though a window gave upon the sylvan scene

The change of Philomel, by the barbarous king

So rudely forced; yet there the nightingale

Filled all the desert with inviolable voice

And still she cried, and still the world pursues,

“Jug Jug” to dirty ears.

And other withered stumps of time

Were told upon the walls; staring forms

Leaned out, leaning, hushing the room enclosed.

Footsteps shuffled on the stair.

Under the firelight, under the brush, her hair

Spread out in fiery points

Glowed into words, then would be savagely still.


  “My nerves are bad tonight. Yes, bad. Stay with me.

“Speak to me. Why do you never speak. Speak.

  “What are you thinking of? What thinking? What?

“I never know what you are thinking. Think.”


  I think we are in rats’ alley

Where the dead men lost their bones.


  “What is that noise?”

                          The wind under the door.

“What is that noise now? What is the wind doing?”

                           Nothing again nothing.

                                                        “Do

“You know nothing? Do you see nothing? Do you remember

“Nothing?”


       I remember

Those are pearls that were his eyes.

“Are you alive, or not? Is there nothing in your head?”   

          

                                                                           But

O O O O that Shakespeherian Rag—

It’s so elegant

So intelligent

“What shall I do now? What shall I do?”

“I shall rush out as I am, and walk the street

“With my hair down, so. What shall we do tomorrow?

“What shall we ever do?”

                                               The hot water at ten.

And if it rains, a closed car at four.

And we shall play a game of chess,

Pressing lidless eyes and waiting for a knock upon the door.


  When Lil’s husband got demobbed, I said—

I didn’t mince my words, I said to her myself,

HURRY UP PLEASE ITS TIME

Now Albert’s coming back, make yourself a bit smart.

He’ll want to know what you done with that money he gave you

To get yourself some teeth. He did, I was there.

You have them all out, Lil, and get a nice set,

He said, I swear, I can’t bear to look at you.

And no more can’t I, I said, and think of poor Albert,

He’s been in the army four years, he wants a good time,

And if you don’t give it him, there’s others will, I said.

Oh is there, she said. Something o’ that, I said.

Then I’ll know who to thank, she said, and give me a straight look.

HURRY UP PLEASE ITS TIME

If you don’t like it you can get on with it, I said.

Others can pick and choose if you can’t.

But if Albert makes off, it won’t be for lack of telling.

You ought to be ashamed, I said, to look so antique.

(And her only thirty-one.)

I can’t help it, she said, pulling a long face,

It’s them pills I took, to bring it off, she said.

(She’s had five already, and nearly died of young George.)

The chemist said it would be all right, but I’ve never been the same.

You are a proper fool, I said.

Well, if Albert won’t leave you alone, there it is, I said,

What you get married for if you don’t want children?

HURRY UP PLEASE ITS TIME

Well, that Sunday Albert was home, they had a hot gammon,

And they asked me in to dinner, to get the beauty of it hot—

HURRY UP PLEASE ITS TIME

HURRY UP PLEASE ITS TIME

Goonight Bill. Goonight Lou. Goonight May. Goonight.

Ta ta. Goonight. Goonight.

Good night, ladies, good night, sweet ladies, good night, good night.

_________________
This cosmic dance of bursting decadence and withheld permissions twists all our arms collectively, but if sweetness can win, and it can, then I'll still be here tomorrow to high five you yesterday. Peace!
http://www.facebook.com/PalaceInThunderland
http://palaceinthunderland.bandcamp.com


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 Post subject: Re: White Heavy Metal dudes reacting to Rap on the yooutubes
PostPosted: Fri Jan 04, 2019 8:51 pm 

Joined: Mon Oct 15, 2012 7:47 pm
Posts: 2333
Location: Concordia

One of 2Pac's deeper junts.

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