20180415

The Kundabuffer Always Rings Thrice: Everything is Fast Food For The Moon

Samuel : this is the name of god, god has heard, a judge of some sort
Diane/Diana :  this is a moon goddess
Bar:  meaning ‘son of’

chrs:  means destruction

mayday :  distress signal
May Day:  Beltane, May Queen

Malone: alone, lost, nobody knows his name
Chambers:  imprisoned, isolated, ignored

Television: always on, always in the background.

CUSTOMER - ISN'T THERE A SIGN OUTSIDE THAT SAYS, "ESTABLISHED IN 1895"?

SAM - NO, UH, DON'T PAY ANY ATTENTION TO THAT.  I MADE THAT NUMBER UP.

CUSTOMER - YOU DID WHAT?

SAM - I DID THAT WHEN CARLA WAS INTO THAT NUMBERS STUFF. 

CLIFF - YOU MEAN THE SCIENCE OF NUMEROLOGY, SAM.

CARLA - YOU SEE, BOSS, IF YOU TAKE 1-8-9-5 AND YOU ADD IT YOU COME OUT TO 23.
WHEREAS 1-8-8-9 COMES OUT TO A 17, 
AND 23 FOR ME IS OBVIOUSLY A MUCH LUCKIER NUMBER THAN 17.

CLIFF - WAIT, WAIT, WAIT, NOW, YOU HAVE 8 CHILDREN.

CARLA - EXACTLY, AND I SHOULD'VE STOPPED AT 5.

SAM - WELL, ANYWAY, I GOTTA TELL YOU, I'M GOING TO MAKE THE MOST OF THIS CENTENNIAL THING.  I ALREADY HAVE WOODY AT THE LIBRARY DOING RESEARCH, AND I THINK WE'LL ALL DRESS IN GAY '90s COSTUMES.

This is no coincidence1?  


From Chapter 137: A Little Ditty from Colin’s Joust by S.Francis Wonot_______________________________________________________

1.  An exponential graph is a natural curve?
There are no straight lines in nature, lines are curved.  Exponents are the true reality.  The Euclidean Matrix (Gutenberg) is a dimensional prison relative to Non-Euclidean SpaceTime (Cyber).
The exponential domain is home to the astral range.
The Euclidean Empire never ended.  It is the nightmare of history.  I used to have dreams where I couldn’t move.  I’ve had that feeling in waking life, panic attacks.  Cognitive gridlock.   

Judgement day is the flesh made word.  Sit back, relax, and watch your life get hacked to pieces 



As above, so below.  ten above, ten below, 10/10 = one

Above, 10 is a unity.  Below 10 is the illusion of unity.  It is in fact binary.  A set of twins, 7 and 3 conjoined as 10.

Above = (10)(10) = 100
Below = seven + seven + seven + seven + seven + sevem + seven plus (3)(3) = 58. 

Above = 102
Below = 72 + 32.  
2,3,7
Above = 100
Below = 49 + 9 = 58.

100 - 58 = 42.
42.
42 = 2X3X7

Euclidean space convinces us that the formula of as above, so below designates congruency, but all it does is signify similarity.  There is a vast difference between the reality of the above and the below.  This space, this difference between the two, between the 49 + 9 and the 100 is Room 237.  The Unconscious.  Every replication, every bifurcation into Euclidean space includes this infinite void between above and below. 


“I Pledge Allegiance to this Body, the United States of Sensorium.
Two bursts into public, then into glands
One station, enters god,
Sin divisible
With Liber OZ, and Bruno for All

This is a Coyote Gospel:  born of the hyper-localized need to re-connect with the non-local. 
You can see this kind of cycle in the work of Jackson Pollock.  At first, clunky, disjointed and forced.  A failure at creating avant-garde art pieces that commanded recognition on the level of the French and Ukranian masters.  Objective works are not achieved until the process is exhausted.  One says, my five year old could do that.  YES.  But the child doesn't struggle; the forty year old man, that requires a fierce struggle to return to what was once natural. Call it a resurrection.  Consider the art of haiku: clunky and forced at first, words bouncing off of and into coded restrictions of form until one day they glide effortlessly into pre-established shells (ignorant of limitation or rule); pure poetry, regardless of scaffold or source...

Does infinity repeat?  It replicates.  It rhymes.
Pi is infinite and non-repeating.
But is Pi in that circle and in that circle? 

Nothing is more marginalized than the Country Music Awards.
Not buying it?
Did you hear that Clint’s new album is called The Suede Orpheus?  It’s about a CMA that lasts 1,000 years.  It takes him seven hundred years to figure out that he has been trapped in a bizarre time loop.
How does he figure it?
As he goes out to perform his new song, he gets a small shock from the stage and understands that he has been singing the same song over and over and over, and the audience keeps applauding as if it is the first time they have ever heard it.  It’s beyond deja vu, it’s something more real then deja vu, if that’s possible.  Enantiodromia.  This word enters his brain and he carries it out to his seat in the crowd.  Enantiodromia.  He just keeps repeating it over and over and over again, as if he stops this mantra it will be lost forever.  As he is obsessing over this word, the best new artist is announced.  He's seen it before, thousands of times.  It's the blond, she always.  But this winner is bald.  This is impossible.  As she approaches the stage, he sees the video projection of her name and hit single and for about ten seconds, everything around him seems to stop.  And just when everything should start moving again, it doesn’t.  Twenty, thirty seconds, a full minute.  Nothing is changing.  He leaves his seat, and, do you know that moment in The Truman Show when he has figured everything out?  He walks to the door and he says his goodbyes?  Well, this guy goes to the side door to leave and it’s locked.  And just as the horror of the whole thing starts to overwhelm him, he hears his name being called from the stage.

Outdated Words : Internet Gaga
All we here is

Radio reached it’s full potential the minute it was born.
No other medium can claim that. 
TV needed decades to reach it’s potential.
Television is an Auto-Tuned reality; The OA fails because it pretends that it does not rely on this Auto-Tuning.  They gave Kanye shit but he understood that Auto-Tune distorts the human instrument in the way that media distorts the human instrument (sense ratios).

Math:  That’s what they call it here.  The word is stabilizing, but it also imprisons.
Magic:  This is the application of “math”.

Glengarry Glenross:  The Ox House Humpers

ABC’s, always be closing.  Time was money, now, money is information.  So time is information.  and Information is Time.  The Internet is a Time Machine. 

This is all that life in the BIP is.  A series of sales pitches, exchanges of meaning, a desperate attempt to own your own private Chapelizod.  A High-Definition of reality; this is what the Man in the High Castle has figured out. 

“Culture” is for closers.  Some people just like to talk.  Talk is not cheap, they do not close.  They do not open.  They loop an endless loop. They do no deserve Culture.

This is what is being debated right now.  Every hack is an Idol, every loser gets coffee.

No respect for relativity at all.  That’s the worst kind of asshole.  
“Those pussies in the south, they get one inch of snow and they think the world is ending”
This is what is being debated right now. 

The rigidity of language, the inability to flex with relativity. 

One Garfield of pleasure.
A soliton.
A never ending, always present soliton of pleasure.  A second.  Seconds.  Some more please.
But that’s all you get.  Firsts. Your first taste is all you taste.
Once a day, every day, for the rest of your days. 

This is one slice from the bottomless pan of lasagna
An absurd contract with serotonin.

As the tower is built, the pressure of the top creates the Diamond at the bottom.
“Real Life” is born;   The Blues, Art, Pollock
Old vs Young
Rich vs Poor
1% vs 99%

A shaman:  cures “disease” through a similar action

“However good our best film composers may be, they are not a Beethoven, a Mozart or a Brahms. Why use music which is less good when there is such a multitude of great orchestral music available from the past and from our own time?

When you are editing a film, it's very helpful to be able to try out different pieces of music to see how they work with the scene...Well, with a little more care and thought, these temporary tracks can become the final score.”  

Stanley Kubrick

The thing it is most “NOT”
Meditation:  Hyperdimensional Kegel Exercises
Enantiodromia:  it becomes the thing that it isn’t
Anamnesis:  The remembrance that this is what it is.

Concrescence:  two teeth fuse together at the roots
painful                          PINK                       LIGHT

Birth of a New Child

Family; you got one?
What you call family I call diseases
TV:  late night horror schlock
Daytime:  soap opera

Video game:  spotlight, pellet Pac Man gets another 15 minutes of fame

The Magic of haughty laughing;  a restrictive structure, like a haiku, but then a miracle of grace, it is cinderella’s slipper.
No true christian, nope
No true greek would eat gyros with a fork and "sauce on the side"

Vince Taylor was The Naz
Combination of Gene Vincent + Robert Taylor
Ziggy Stardust
Iggy Warhol Reed + LSD Casualty
Alien Agenda/Messiah

Born in the Milky Way:  What happens when you see the system?
Full hyperdimensional perspective
Removed from the Local completely
To observe from afar with the knowledge of within
The Matrix is recognized from a cosmic scale
A library within a library

Are you in IT?  Those technically superior wizards of history and politics may scan the chessboard to determine the finite directions the pieces must go, but they only have one foot in the muck, the shit, the tactile field of blood and emotion embedded in the hyper-localized dimension known as humanity.  What makes this humanity so fascinating is that they forget that there are no rules!  The overlords may scowl at the unforeseen improvisations but the scowl quickly loses its power.

It is happening, it is really happening. 

Pollock is Pollock
What rough beast is Pollock?
For he is exalted and known, and reflects back things which may never have been shone
Finnegans Wake is a miracle for even existing, its place on the pedestal has rightfully been owned.

I wish servers had tasers.
You mean like whalers and waitresses? 
Yeah. 
Why would you say that?

There are two jobs every human being should have at some point in their life in this place.   Server and police officer.  Nothing else provides the correct insight into the body politic of Cthulu. 

The Irrational gives rise to the Rational

The Nomad Hater Body gives way to the Domestic Water Body

Palm Tree Garden:  Won the War
Black Iron Prison: Lost the War
Post War empathy: 

Senior Moment or Mandela Effect:  both are the result of too much info.  PKD’s light switch.




LeClair’s Tensor was the Baptist, the Transformer wants to be the Christ, but falls short:   One is Everything, One is the Path to Everything.

First Amendment:  Free Speech
The power to involve oneself in the narrative, the Existential Qualifier as the Path to Everything 

America is an omelet that needs to be flipped. Trump is the decision to make scrambled eggs. 

Unconscious Escape Hatch:  Get me off this Island!
Every one is unconsciously attracted to people who represent a fast ticket out of the prison.

Original Sin is simply the bad luck of being born into slavery.  Thoughtful, actually.

How do you think a seven year old would draw this scene?




Mudra:  meta programming the human body:  eight hand positions for eight states of being.  Practiced and meditated upon over twenty years will signal the body meta-physically that it is aware of an unbalance and it should try to slow down.

The Box:  looks inside, looks like Twin Peaks, everything, including the Cat is alive.  But it is sterile.  Because it is not dead.  The observer paints the organism in absolutes.   It might as well be dead.  Consider the coffin; the body does not look real.  It is dead, but it is not alive.

8 bit Zelda worked so well because of the emergent graphics and game design, there simply was nothing as complex to fall into when it came out.  There was a deep desire to uncover everything it had to offer, the final levels contained the most complex, the most graphically intense data the game had to offer.  There was almost a feeling that your world would change if you were able to unlock its secrets.  I am not sure that video games deliver this anymore. 
One would have to design constraints.  One would have to control the flow of data to insure that the sublime emotions and emotional payoff would still exist for the young gamer. 
Now, the games are so complex, so graphically real that the goal of the gamer is to bring the control of complexity into simplicity.  Zelda led gamers away from chess, could Gears of War lead to chess?

Online Poker:  How did I screw that up?  Alcohol, intense desire for impossible levels of success.  Guilt.  Inability to believe that it was really real.

...I submit to you that such alterations, the creation or selection of such so-called 'alternate presents' is continually taking place. The very fact that we can conceptually deal with this notion - that is, entertain it as an idea - is a first step in discerning such processes themselves. But I doubt if we will ever be able in any real fashion to demonstrate, to scientifically prove, that such lateral change processes do occur. Probably all we would have to go on would be vestiges of memory, fleeting impressions, dreams, nebulous intuitions that somehow things had been different in some way - and not long ago, but NOW. We might reflexively reach for a light switch in the bathroom only to discover that it was - always had been - in another place entirely. We might reach for the air vent in our car where there was no air vent - a reflex left over from a previous present, still active at a subcortical level. We might dream of people and places we had never seen as vividly as if we had seen them, actually known them. But we would not know what to make of this, assuming we took time to ponder it at all. One very pronounced impression would probably occur to us, to many of us, again and again, and always without explanation: the acute absolute sensation that we had done once before what we were just about to do now, that we so to speak, lived a particular moment or situation previously - but in what sense could it be called 'previously,' since only the present, not the past, was evidently involved? Such an impression is a clue that at some past time point a variable was changed - reprogrammed, as it were - and that, because of this, an alternate world branched off, became actualized instead of the prior one, and that in fact, in literal fact, we are once more living this particular segment of linear time. A breaching, a tinkering, a change had been made, but not in our present - had been made in our past. ...Conceivably this could happen any number of times, affecting any number of people, as alternative variables were reprogrammed. We would have to go live out each reprogramming along the subsequent linear time axis. ...Thus, too, this might account for the sensation people get of having lived past lives. They may well have, but not in the past; previous lives, rather, in the present. In perhaps an unending repeated and repeated present, like a great clock dial in which grand clock hands sweep out the same circumference forever, with all of us carried along unknowingly, yet dimly suspecting.

 Scanner is an account of what it’s like to have a self in each brain hemisphere ideologically on opposing sides of the barricades”
Creation is mind—i.e., Brahman. But beyond that mind (noös) is brain: her.
It’s a loop. (1) I wrote TMITHC, in it I create Mr. Tagomi. He sits in a park and stares into a silver pin. Then he finds himself in our world, so our world as described within the product of a work of fiction within our world.”
The bigger (macro) can replicate itself in micro, and so any given bigger can be smaller than anything else. So the hierarchy of levels of truth and meaning themselves enter a paradox, where the higher becomes the lower.

Wisdom as a verbal riddle: its most microform, most condensed so in a sense most esse (onto). Then the smallest form (level) of it is the most real. Size is inversely proportional to hierarchical reality. We assume cosmic = most important = largest. (Cosmos = cosmic.) Wrong. Look for the seed. “Break a stick and there is Christ.” Nearest at hand. The cosmic is no more ultimate. “The part is contained in the whole”—no; the whole is contained in the part. There is no hierarchy of meaning; there are alternate models only, each as true as the others. It’s not A or null-A.

(1) Your sister is the anima in your mind. She is physically dead.

(2) You are physically dead and live in your living sister’s mind as a thought (for mind read brain read macro body and blood), and she is in plural microform in your world. So she is in her own thought!”

The part contains the whole.” (The micro contains the macro.)

“The whole contains the part.” (The macro contains the micro.)

Such a 2-proposition flip-flop dialectic is put forth as the riddle in Ubik: (1) are they dead/Runciter is alive? Or (2) are they alive and Runciter is dead? And it pulses (oscillates) back and forth endlessly. Ubik is the most important book ever written. Ubik the entity is the Tao. And the Logos or Christ or Sophia. Ubik is true; it deals with the (1) dialectic basis of all process; and (2) with the Tao.

My two propositions pulse (oscillate) back and forth. I am alive/I am dead/I am alive/I am dead.

She is alive/she is dead/she is alive/she is, etc.

As soon as something exists it turns into its opposite which then turns into its opposite, etc.”

Once you have the idea that “the whole is contained in the part” you’re onto it.*

(1) Our universe (world) is a scene in TMITHC. A place where Mr. Tagomi goes.

(2) Mr. Tagomi is a fictional person contained in a work of fiction produced in our universe.

Our world contains TMITHC which contains our world which contains TMITHC which contains our world which contains TMITHC which contains. . . . I set up another paradox flip-flop and another “the whole is contained in the part” and “the part is contained in the whole.”

How about: “Acts” contains (is) our world (i.e., our world is really “Acts”). But in our world is a book, a novel, which contains a fictional world which is (contains) “Acts.”

“Acts” can be retrieved in microform from a novel within our world; i.e., “Acts” can be derived from our world in microform. (“Acts” in microform. But “Acts” is the macroform which contains our world.)

Put another way, “Acts” is a book (part) within our world (whole). But our world (part) is contained within “Acts” (whole).

I have finally made a quantum leap breakthrough into pluriform model theory: oscillation truth. Oscillating between self-canceling models. As soon as you think it up it cancels (negates) itself and leads to the next self-canceling (but temporarily correct) model. And then back. Discarded model reinstates itself, and so eternal oscillation is generated. We’re trapped in a vast loop—which is good; otherwise reality would run down and end. The key is: reoccurrence. Reality can be regarded as an infinitely long number which repeats itself.*

So I may be dead, as of 3-74. My cosmological concepts are so terrific, so advanced as to be off the scale. I create whole religions and philosophical systems. The very fact that I honestly ponder if I may be dead and in heaven is prima facie evidence of how happy and fulfilled I am.

Philip K Dick




The Gospel:  the good news, advertising is Gospel.  We have what you need, big box of UBIK.  Revive your dying form.  The Blues?  What kind of gospel is that?  Where is the good news? 

Multi-Beast/Crayon Face removed from the box?  Isolate?  Did not used to happen.   

What is relative is threatened by the absolute.  Like cutting off someones nose and calling it Jane.

Some of those langurs could care less about the dead monkey because they knew it was not a monkey

One day they will have their revenge....

Too many toppings ruined the pie
Does anyone  look beautiful with too much makeup? 

The cube at the back of my neck is being watched over, and there is a sense that we are on a ship, floating safely in time.  Something told me that the calm waters represented good behavior

It’s there in the first sip. a shadow in the second, after the third it’s all the same.
But that first sip everything is good:  mowed the lawn, washed the car, raked the leaves, cleaned the kitchen, put the dishes away; cold beer.  reward.  A moustache approves.

Mario Odyssey:  Has Become dirigible 
Video Game:  The Dark Night of Batman’s on mushrooms, again.  

Rumors of people making money on the Luigi Gospel.

 
 If Luigi asked for anything,
 the town would provide.  



“The goal is to become the author of the novel. Then, you can write any damn ending you want for your character or any other. And this 'becoming the author' is this non-local detachment, and suddenly you go from being a chess piece on the board to the player inspecting  the matrix. It's empowering, it's self-control.

Concrescence is a word that I cribbed from the metaphysics of Alfred North Whitehead, and in fact much of what I say Whitehead provides the foundation for. He, like myself, had the idea that history grows toward what he called a nexus of completion. And these nexii of completion themselves grow together into what he called the concrescence, so, a concrescence is a domain of extremely high novelty in comparison to whatever its embedded in. So, for instance, you walking in the wilderness, you are a concrescence because you are more complex than the medium you're moving through. A raisin embedded in a cornmeal muffin is a concrescence. It is more complex than the muffin-matrix in which it finds itself. So, a concrescence is a local state of unusually high complexity. And a concrescence exerts a kind of attraction, let's call it the detemporal equivalent of gravity, so that all objects in the universe are drawn through time, not space- gravity draws you through space, time draws you toward the concrescence. This is why the universe is seem to be becoming more and more complex faster and faster. The idea being, you see, that each epoch, being shorter than the one that preceded it, this generates an asymptotic curve of approach, and it's become a cliche of our culture that time is speeding up. It actually is speeding up. It's not that it seems like it's speeding up, it looks like it's speeding up, it *is* speeding up. We in our entire world are being drawn into confrontation with something that at this level is lost below the event horizon of rational apprehension. That's a fancy way of saying you can't know jack shit about it at this point in time. There will come a moment when it will rise above the horizon of rational apprehension. And I think that history is a set of nested resonances. This is what I mean when I say 'nothing is unannounced'. Nothing can take you by surprise if you've really been paying attention, because everything is preceded by its harbingers and heralds. And we are living in an era now where there is a great deal of apocalyptic expectation, anticipation and hysteria for several reasons.


What I have concluded after 25 years of fiddling with this is that both of those ideas have a certain something to recommend them, but that they don't go far enough and that we get more to the meat of this if we leave off psychological, the first explanation, or sociological, the second explanation, and actually go for something a little more formal. To wit- a mathematical model of what shamanism is, and what I mean by that is let's think about what shamans do. They cure disease, and another way of putting that is they have a remarkable facility for choosing patients who will recover, they predict weather, very important, they tell where game has gone, the movement of game, and they seem to have a paranormal ability to look into questions as I mentioned, who's sleeping with who, who stole the chicken, you know, social transgressions are an open book to them. Well, thinking about this from a mathematician's point of view, an all-encompassing explanation that would explain how all these magical feats are done is simply to suppose that the shaman is somehow able to project his consciousness, his or her consciousness, into a higher dimension, not metaphorically, as in Sylvester Stallone has many dimensions, not metaphorically, but literally, as in 1 dimension, 2 dimensions, 3 dimensions, and four because if you could move into the 4th dimension, the dimension orthogonal to Newtonian spacetime, seeing what the weather is going to be next week is easy as seeing what the weather is now. Seeing where the game went is as easy as seeing where the game are. Knowing who stole the chicken is simply defined by looking to see who stole the chicken. And I have noticed that all of biology, not simply shamanism within the context of human society, but all of biology is in a sense a conquest of dimensionality. That as we ascend the phylogeny of organic life, what animals are are a strategy for conquering spacetime, and complex animals do it better than simpler animals, and we do it better than any complex animal, and we 20th century people do it better than any people in any previous century because we combined data in so many ways that they couldn't electronically on film, on tape, so forth and so on. So, the progress of organic life is deeper and deeper into dimensional conquest. Well, from that point of view then, the shaman begin to look like the advance guard of a new kind of human being, a human being that is as advanced over where we are as we are advanced over people a million years ago because we have, you know, very elaborate strategies for coding the past. It's a dimensional conquest.”   

Terence McKenna


Well, if something is rare, you can be sure whoever thought of it got paid 

America is outgrowing this Calendar


 

Borges: invented History
Dick: rewrote history

The fascination and the haptic tactility of the Transformer is not in its existence, but in its manifestation.  The nuclear fusion of the soldier and the hunchback, Doubt and Certainty.

It no longer has any value for me, or for many others.  It must hibernate for now.  For how long?  Decades?  Centuries?   I consider it a modern man-cave painting.  The excretion of boredom etched into walls of imprisonment.  Cave drawings are magical in their creation, yes.  But they were not Magical for thousands of years. 

The Transformer in its natural state is on the verge of extinction.  The DVD’s are useless, the correct dimensions of TV and lap top are gone.  The elements are all around us continuously but the specific organic arrangement exists only as an idea.  An eclipse possible only on a dead planet that has since turned into dust.   

A genetic memory of home:  a lion at the zoo is unsettled, becomes restless.  Begins to reject the comforts of his environment.  Sees on a television screen the African savannah, in fact, his father and mother and family in the wild.  This triggers an overwhelming total body experience of anamnesis; conscious recovery of genetic memory; it is a special arrangement of coincidence that triggers a waking REM which in turn leads to the superimposition of two separated but equal time frames.  The lion is in a false reality, buffered by time and space.  Taken for a fool, restricted, and imprisoned.  It would be the same experience of a human being realizing after many years that he lived not on Earth, but on the Moon; a climate controlled simulacrum of the genetic origins of the species.  Told that there was no difference, but for the genetic awakening.

The Lion has it good, the Moon child has it good, both agree life lived in relation to those of the caste below them is more secured.  Food, shelter, employment, health.  
But purpose?  Desire?  Gravity? 

Once this is awakened and experienced, it cannot be ignored.   It is elusive like the sixth and final number. 

Prison Lottery:  Odds are 1 in 7 trillion.
Your hope is false, the possibility grows into something akin to Faith.
Or
Garden Party:  You win the Lotto, you come to find out that the other winner had purchased 100 tickets of the same number.  You win one million dollars of a 100 million dollar prize.
You cash 675,000.  This does not change your life. 

Your breakthrough experience is tainted.   You are left depressed and isolated.  You have been robbed of hope.  
You are ungrateful.  
The thing you hoped for was a lie. 

Old boundaries dissolve.  The ascension to balance is full of ecstasy and joy. Maintaining that balance is a grind in this windowless cube on the dark side of the moon.  The imbalance of the individual, not the imbalance of the cosmos, eradicates tribe. 

Good       clean        fun
You know what your role is; the same as everyone else
Make sure to keep the Old Style, you may never have one ever again

This is the magic;  one sip, for the time travelling moment.
You didn't actually drink, but you touched the ghost.



20171221

The Disappearing Right Hand Path: Hallowed Be Thy Name


"Isn't this where we came in?"


An excerpt from an early, unpublished draft of The Hallows of Death by JK Rowling, 1995(?)

Late in the day, when school ended, Harry Potter decided to try the Hermetic transform once again, so that he would know the world around him.
     First he speeded up his internal biological clock so that his thoughts raced faster and faster.  He felt himself rushing down the tunnel of linear time until his rate of movement along the axis was enormous.  First, therefore, he saw vague floating colors and then he suddenly encountered the Watcher, which is to say the Boggart, who barred the way between the Lower and the Upper Realms.  The Boggart presented itself to him as a nude female torso that he could reach out and touch, so close was it.  Beyond this point he began to travel at the rate of the Upper Realm so that the Lower Realm ceased to be something but became, instead, a process;  it evolved in accretional layers at a rate of 31.5 million to one in terms of the Upper Realm's time scale.
     Thereupon he saw the Lower Realm-not as a place-but as transparent pictures permutating at immense velocity.  These pictures were the Forms outside of space being fed into the Lower Realm to become reality.  He was one step away, now, from the Hermetic transform.
     The final picture froze and time ceased for him.  With his eyes shut he could still see the room around him; the flight had ended; he had eluded that which pursued him.  That meant that his neural firing was perfect, and his pineal body registered the presence of light carried up its branch of the optic conduit.
     He sat for a little while, although "little while" no longer signified anything.  Then, by degrees, the transform took place.  He saw outside him the pattern, the print, of his own brain; he was within a world made up of his brain, with living information carried here and there like little rivers of shining red that were alive.  He could reach out, therefore, and touch his own thoughts.  The room was filled with their fire, and immense spaces stretched out, the volume of his own brain external to him.
     Meanwhile he introjected the outer world so that he contained it within him.  He now had the universe inside him and his own brain outside everywhere.  His brain extended into the vast spaces, far larger than the universe had been.  Therefore he knew the extent of all things that were himself, and, because he had incorporated the world, he knew it and controlled it.
     He soothed himself and relaxed, and then could see the outlines of the room, the coffee table, a chair, walls, pictures on the walls:  the ghost of the external universe lingering outside him.  Presently he picked up a book from the table and opened it.  Inside the book he found, written there, his own thoughts, now in a printed form.  The printed thoughts lay arranged along then time axis which had become spacial and the only axis along which motion was possible.  He could see, as in a hologram, the different ages of his thoughts, the most recent ones being closest to the surface, the older ones lower and deeper in many successive layers.
     He regarded the world outside him which now had become reduced to spare geometric shapes, squares mostly, and the Golden Rectangle as a doorway.  Nothing moved except the scene beyond the doorway, where his mother rushed happily among tangled old rosebushes and a farmland she had known as a child; she was smiling and her eyes were bright with joy.
     Now, Harry thought, I will change the universe that I have taken inside of me.  He regarded the geometric shapes and allowed them to fill up a little with matter.  Across from him the ratty blue couch that Ron Weasley prized began to warp away from plumb; its lines changed.  He had taken away the causality that guided it and it stopped being a ratty blue couch with Butter Beer stains on it and became instead a Hepplewhite cabinet, with fine bone china plates and cups and saucers behind its doors.
     He restored a certain measure of time--and saw Ron come and go about the room, enter and leave; he saw accretional layers laminated together in sequence along the linear time axis.  The Hepplewhite cupboard remained for a short series of layers; it held its passive or off or rest mode, and then it was whisked over into its active or on or motion mode and joined the permanent world of the phylogons, participating now in all those of its class that had come before.  In his projected world brain the Hepplewhite cabinet, and its bone china pieces, became incorporated into true reality forever.  It would now undergo no more changes, and no one would see it but he.   It was, to everyone else, in the past.
     He completed the transform with the formulary of Hermes Trismegistus:

     Verum est . . . quod superius est sicut quod inferius et quod inferius est sicut quod superius, ad
      perpetrando miracula rei unius.

     That is:

     The truth is that what is above is like what is below and what is below is like what is above, to
     accomplish the miracles of the one thing.

     This was the Emerald Tablet, presented to Maria Prophetissa, the sister of Moses, by Tehuti himself, who gave names to all created things in the beginning, before he was expelled from the Palm Tree Garden.
     That which was below, his own brain, the microcosm, had become the macrocosm, and inside him as microcosm now, he contained the macrocosm, which is to say, what is above.
     I now occupy the entire universe, Harry realized;  I am now everywhere equally.  Therefore I have become Adam Kadmon, the First Man.  Motion along the three spacial axes was impossible for him because he was already wherever he wished to go.  The only motion possible for him or for changing reality lay along the temporal axis; he sat contemplating the world of the phylogons, billions of them in the process, continually growing and completing themselves, driven by the dialectic that underlay all transformation.  It pleased him;  the sight of the interconnected network of phylogons was beautiful to behold.  This was the kosmos of Pythagoras, the harmonious fitting together of all things, each in its right way and each imperishable.
     I see now what Voldemort saw, he realized.  But more than that, I have rejoined the sundered realms within me;  I have restored the Shekhina to En Sof.  But only for a little while and only locally.  Only in microform.  It would return to what it had been as soon as he released it.
     "Just thinking," he said aloud.
     Hermione came into the room, saying as she came, "What are you doing, Harry?"
     Causality had been reversed;  he had done what Voldemort could do: make time run backward.  He laughed in delight.  And heard the sound of bells.
     "I saw Chinvat," Harry said. "The narrow bridge.  I could have crossed it."
     'You must not do that," Hermione said.
     Harry said,"What do the bells mean?  Bells ringing far off."
     "When you hear the distant bells it means that the Saoshyant is present."
     "The Chosen One," Harry said.  "Who is the Chosen One, Hermione?"
     "It must be yourself," Hermione said.
     "Sometimes I despair of remembering."
     He could still hear the bells, very far off, ringing slowly, blown, he knew, by the desert wind.  It was the desert itself speaking to him.  The desert, by means of the bells, was trying to remind him.  To Hermione he said, "Who am I?"
     "I can't say," Hermione said.
     "But you know."
      Hermione nodded.
     "You could make everything very simple," Harry said, "by saying."
     "You must say it yourself," Hermione said.  "When the time comes you will know and you will say it."
     "I am--" the Wizard said hesitantly.
     Hermione smiled.


I never fully understood Harry's relationship to Voldemort, or why Voldemort was threatened by a child until I read this.  It wasn't Harry's ability to resist the Dark Arts that threatened Voldemort; he would have been perfectly fine if Harry had ignored the Dark Arts altogether.  What most threatened Voldemort was Harry's ability to control the Dark Arts.




This Is Your Drugs on Brain

The above story is obviously? fake.  The "early, unpublished draft of The Hallows of Death" is actually Philip K. Dick's The Divine Invasion with Harry Potter characters.  Other than some of the names, J.K. Rowling had nothing to do with it.

Finished in 2008, the Large Hadron Collider is a high-energy particle collider designed to test out and prove different theories about particle physics.  It mashes and smashes like a beast.  The most famous function of this nine-billion dollar machine was to find observable proof of that elusive particle known as the Higgs-Boson, which for decades existed only as a mathematical theory.  Amazingly, only five years after the completion of the LHC, those incredibly smart people working at CERN provided observable proof of it's existence, which means apparently one of two things.  Either millions now living will never die OR everyone living right now is already dead.  That's some pretty deep shit.

I wonder what Marshall McLuhan would think about all of this?  I think he would laugh at first and then calmly explain to the perplexed that the Large Hadron Collider is also a fake, a ridiculous, expensive fake.  The real technology, the largest high-energy particle collider ever made, is that great gray lump in your head, and every second of everyday it is busy mashing and smashing every conceivable component of reality.  And this is just when we are awake!   When we go to sleep, or when we ingest certain plants, we really let the fucker rip.

So why build the LHC?  Why the fake?  And what does this have to do with Roger Waters?



"So ya, thought ya, might like to go the show….."  
R.W.

20170318

My Own Private Chapelizod




I pity your oldself I was used to.  Now a younger's there.  Try not to part.  Be happy dear ones!  May I be wrong!  For she'll be sweet for you as I was sweet when I came down out of me mother.



My great blue bedroom, the air so quiet, scarce a cloud.  




In peace and silence.  
I could have stayed up there for always only. 
It's something fails us.  

First we feel. 
Than we fall. 



 

And let her rain now if she likes.   Gently or strongly as she likes.  Anyway let her rain for my time is come.



  I done me best when I was let.  Thinking always if I go all goes.  A hundred cares, a tithe of troubles and is there one who understands me?  One in a thousand of years of the nights?  All me life I have been lived among them but now they are becoming loathed to me.  And I am loathing their little warm tricks.  And loathing their mean cosy turns.  And all the greedy gushes out through their small souls.  And all the lazy leaks down over their brash bodies.  How small it's all!  



And me letting on to myself always.  And lilting on all the time.  I thought you were all glittering with the noblest carriage.  



You're only a bumpkin.  I thought you the great in all things, in guilt and in glory.  You're but a puny.  Home!  My people were not their sort out beyond there so far as I can.  For all the bold and bad and bleary they are blamed, the seahags. 



No!  Nor for all our wild dances in all their wild din.  I can seen myself among them, allaniuvia pulchrabelled. How she was handsome, the wild Amazia, when she would seize to my other breast!  And what is she weird, haughty Niluna, that she will snatch from my ownest hair!  For 'tis they are the storms.  Ho hang!  Hang ho!  And the clash of our cries till we spring to be free.  Auravoles, they says, never heed of your name! 




But I'm loathing them that's here and all I loathe.  Loonely in me loneness.  For all their faults.  I am passing out.  O bitter ending!  I'll slip away before they're up.  They'll never see.  Nor know.  Nor miss me.



And it's old and old it's sad and old it's sad and weary I go back to you, my cold father, my cold mad father, my cold mad feary father, till the near sight of the mere size of him, the moyles and moyles of it, moananoaning, makes me seasilt saltsick 



and I rush, my only, into your arms. 





I see them rising!  Save me from those terrible prongs!  Two more. Onetwo moremens more.  So.  Avelaval.  My leaves have drifted from me.  All.  



But one clings still. 




I'll bear it on me. To remind me of. Lff!  So soft this morning ours. Yes. 



Carry me along, taddy, like you done through the toy fair.




If I seen him bearing down on me now under whitespread wings like he'd come from Arkangels, I sink I'd die down over his feet, humbly dumbly, only to wash-up.  Yes, did.  There's where.  First.  We pass through grass behush the bush to.  Whish!  A gull.  Gulls.  Far calls.  Coming, far!  End here.  Us then.  Finn, again!  Take. 
 Bussoftlhee, mememormee!  
Till thousendsthee.

Lps.  

The keys to.  Given!  A way a lone a last a loved a long the


James Joyce, Finnegans Wake



20170316

Isomorphic Drills: Beyond Fading Captain




"Of course, "Sufficiently Breathless," I know that one.  Classic, yeah, great song.   The name Sunfish Holy Breakfast came from it.  Go back and listen to it drunk and you'll hear it."


a SHOUt in the streeT

It isn't strange for me to suggest that the title of Guided By Voices Sunfish Holy Breakfast EP was birthed out of a misheard lyric from the song "Sufficiently Breathless" by Captain Beyond.  This kind of notion fits in well with the mythology of the GBV universe.  What is strange is my "proof."  This here is the evidence.

In numerous interviews Robert Pollard has stated that as a youth he based much of his record purchasing decisions based solely on how weird the band names were or how strange the album art was.  Captain Beyond's album Sufficiently Breathless certainly fits the bill.  "Captain Beyond" even sounds distinctly Pollard-esque, like one of the hundreds of band names Pollard dreamt up and made fake album covers for.  This record is definitely in Pollard's Progressive Rock Wheelhouse.

"Nothing Left To Live For..."
I also know that creative inspiration of this type has happened before with GBV.  One of their most widely known albums, Bee Thousand, was partially inspired by a typo on the marquee of a drive-in movie theater seen around town.  This "shout in the street" bled into the proposed "Zoo Thousand" title, becoming Bee Thousand.

Even the artwork on the respective album covers is similar, as both display a band of freaks hanging out in front of buildings with identical red brick walls (more or less).  And the lysergic disposition of the three long hairs sitting in bug-eyed lotus perfectly matches the refrain of the song.
                                                                                               
For me, all the parameters for exquisite bullshit are firmly in place here, bullshit that is just entertaining and coincidental enough to convince a few fans that the story is true.

Who knows?  Maybe it is true.




Here Comes Everybody

I have always been obsessed with artists who command an unexplainable reverence.  Geniuses cloaked in mystery who, despite their fame, really don't belong somehow:  Lenny Bruce, Stanley Kubrick, Andy Kauffman, Aleister Crowley, James Joyce, William Burroughs.

One of the defining characteristics of these artists is that they remain coy when asked "what does it mean?"  Kaufmann never let down his guard.  Kubrick didn't explain shit.  James Joyce dropped Finnegans Wake on the world without a map, and Aleister Crowley reveled in the stupidity of fools.   These artists were content to allow their artistic output to speak for itself.

One thing they all understood is that there is no such thing as an accident.  They undersood that there are certain gestational necessities of the quintessence; that sometimes only silence can transubstantiate the Delphic sparks of the unconscious mind.

Robert Pollard of Guided By Voices is one of these artists.

Enter the rune.

The Rune
Chemical Fun In The Sun

Wrunes For Ever

The rune made its first appearance on the Sunfish Holy Breakfast EP, released in November 1996, ten years after the first GBV release, Forever Since Breakfast, also an EP, and also concerning breakfast (a ritual associated with waking up).  Floating like a two-dimensional UFO, this odd little doodle first captured my attention when it reappeared on the cover of Mag Earwhig.   Soon it started showing up on t-shirts and promotional items at tour stops, on the tattooed arms of hardcore fans, and on Isolation Drills, the final appearance of the rune on an official album release (skipping Do The Collapse for some reason).

This "rune" has been referred to as many things: the doodle, the symbol, and most lovingly, the "paper football thingy."  Of all the names given, rune is the most intriguing.  But upon closer examination, something else jumps out.




Compare this writing with the writing of the Lord's Prayer in Old Norse (Runic Alphabet-Futhark):





If we’re labeling anything runic here it should be the alphabet used to inscribe the title, not the "paper football thingy."   

So what the hell is it?




beginners level study of magic must include a discussion of the construction of sigils. Construction of a sigil is an extremely personal creative process which depends on reshaping and condensing multiple elements into a singular form.  It has much in common with collage, putting the use of sigils in Pollard's Magical Wheelhouse.

In modern uses, the concept was mostly popularized by Austin Osman Spare, who published a method by which the words of a statement of intent are reduced into an abstract design; the sigil is then charged with the will of the creator.  Spare's technique, now known as sigilization, has become a core element of chaos magic.  The inherently individualistic nature of chaos magic leads most chaos magicians to prepare and cast (or "charge") sigils in unique ways, as the process of sigilization has not been rigorously defined. Sigils are used for spells as well as for the creation of thoughtforms.

Correctly identifying the letters of the title as runes allowed me to see that the paper football thingy was a sigil constructed out of runes.  

But who's runes?




Finnegans Wake Up With
Skills Like 
This


“To Joyce reality was a paradigm, an illustration of a perhaps unstatable rule.  It is not a perception of order or of love; more humble than any of these, it is a perception of coincidence.”              

Samuel Beckett

I began this exploration with a stoned-comedian riff on the entanglement of Captain Beyond's Sufficiently Breathless and GBV's Sunfish Holy Breakfast (SHB) because it illustrates the kind of lysurgical acrobatics necessary to distill the psycho-metalytic content of James Joyce's alchemical opus Finnegans Wake (I think this process is referred to in the rejected album title Non-Local Leap Frog).  It is this same freak process that I will use to discern the connection between Pollard's sigil and Finnegans Wake.

In Joyce's Finnegans Wake, the character of Humphrey Chimpden Earwicker owns and tends bar in a suburb of Dublin.  His last name Earwicker is considered to be derived from eire-weiker, dweller in Ireland, but also carries many other associations.  One of them is "earwig."

Earwicker, the reader is told, was originally a gardener who spent his days trying to keep earwigs out of his garden.  One day, while he is at work, a king passes by and asks him what he is up to.  Earwicker's response is that he is "cotchin on thon bluggy earwuggers" (31.10-11).  This pleases the king, who then bestows the name 'earwicker' on him (3.27-8).  
Peter Mahon

Earwicker sounds much like "earwigger" and Joyce's dreamer, a Protestant, seems to suspect that his Catholic neighbors maliciously pronounce it that way behind his back.  The earwig is reputed in folklore to cause dreams by crawling into the sleepers ear, so the association Earwicker-earwig is appropriate for a book of dreams.

Robert Anton Wilson

A Waking Universe

From a press release for the album Mag Earwhig (ME):

The first GBV album by their new lineup, which consists of leaders Robert Pollard and Tobin Sprout, backed by the entire lineup of Cobra Verde. This is a conceptual rock opera inspired by the Who's Tommy, the Pretty Things' S.F. Sorrow, Genesis' The Lamb Lies Down on Broadway, and the Edgar Broughton Band's Wasa Wasa. 

Pollard is the main character in this sprawling narrative, an insectile cartoon figure named the Magnificent Earwhig, who interacts with a wild cast of characters in songs evoking nostalgiac memories of an Ohio boyhood, starting one's first band, and inhaling American roadside pop culture. 

"Despite the progressive conceptual 70's mindset informing this project, the record is still a collection of beautifully twisted pop songs and can be listened to as either an opera or just a series of rock arias." 

This could just be a simple coincidence.  But a coincidence involving James Joyce is rarely simple.
Joyce's understanding, use of, and reverence for coincidence has more in common with Jung's definition of synchronicity than coincidence

Synchronicity exposes us to a reality saturated with hyper-dimensional intent.  It is a place where accidents simply do not exist.

Digging deeper into this coincidence of Finnegans Wake and GBV, I realized that both HCE and ME earn their keep by working in bars, establishments dedicated to intoxication, and that both authors, Pollard and Joyce, were born just outside of Dublin:  Joyce a few miles outside of Dublin, Ireland, and Pollard a few miles outside of Dublin, Ohio.  Both spent time as school-teachers, both loved to write, and both loved to sing:

If he had not become a writer, there is a very good chance that James Joyce would still have made a name for himself by pursuing a career as a vocal performer. In 1904 he even shared the stage with the great opera singer and recital artist, John McCormack; and later on in life, after he had established himself as an author, he tirelessly promoted the singing career of his fellow Irishman and tenor, John Sullivan.



Pollard and Joyce both utilize collage as a significant channel for creative expression; Pollard primarily through visual arts, Joyce through the magic ear of the printed word.


Bababadalgharaghtakamminaronnkonnbronntonnerronntuonnthunntrovarrhounawnskawntoohoohoordenenthurnuk!


This was enough entanglement for me to suspect Pollard might also be obsessed with James Joyce.   I say obsession because I don't think anyone is ever casually into Joyce; much like GBV, Joyce is either meh or full-blown obsession.



Visit This Place

Le Soleil Secret


"For a long time I didn’t have my own copy (of Finnegans Wake), because I had given it to Robert Pollard from the band Guided By Voices, of which you may have heard. He plunders it on occasion for song titles and lyrics."

James Greer was a member of GBV from 1994-96, and played bass during the 1995 recording sessions that would become Under the Bushes, Under the Stars.  Leftover material that did not make that album would eventually be released a year later as SHB.  SHB marked the final release of the "classic" GBV era ("One more!").  Pollard would break up the band shortly after and reform with another Ohio group, Cobra Verde, serving as back up band.

SHB then serves as a sort of wake for the GBV funeral, and the proceedings offer a few notable anomalies.  Upon release, Greer became one of only a handful of people in GBV history to have sole songwriting credit with the inclusion of his song "Trendspotter Acrobat." Another sole songwriting credit went to Tobin Sprout's "Jabberstroker" which opens the album.  No other GBV release before or after opens with a song whose sole songwriting credit is someone not Robert Pollard.  And of course there is the first appearance of the sigil.

I suspect that Greer's copy of Finnegans Wake was handed over to Pollard sometime in '95 and from there Joyce's influence began to take effect.  Peeling back a few more layers of the SHB onion we find other clues of Joyce's influence.  Greer's song "Trendspotter Acrobat" is a good name for the kind of deconstructive detective work necessary to make sense of Finnegans Wake, and Sprout's "Jabberstroker" is evocative of "Jabberwocky," the nonsense poem written by Lewis Carrol, and a major influence on Joyce:

Many of the words in the poem are playful nonce words of Carroll's own invention, without intended explicit meaning. 

When Alice has finished reading the poem she gives her impressions:
'It seems very pretty,' she said when she had finished it, 'but it's rather hard to understand!' (You see she didn't like to confess, even to herself, that she couldn't make it out at all.) 'Somehow it seems to fill my head with ideas—only I don't exactly know what they are! However, somebody killed something: that's clear, at any rate.'

This may reflect Carroll's intention for his readership; the poem is, after all, part of a dream. In later writings he discussed some of his lexicon, commenting that he did not know the specific meanings or sources of some of the words; the linguistic ambiguity and uncertainty throughout both the book and the poem may largely be the point. 

Pollard's lyrical wordplay has also been accused of "linguistic ambiguity and uncertainty," but these accusations only hold weight through a superficial listen.  Any substantial investment of time reveals that even the oddest turn of phrase manifests some meaning (objective, subjective or otherwise).




 Factory Of Raw Essentials


"I thought about it, a few years actually, and I decided that meaning and language are two different things. And that what the alien voice in the psychedelic experience wants to reveal is the syntactical nature of reality. That the real secret of magic is that the world is made of words, and that if you know the words that the world is made of you can make of it whatever you wish."

Terence McKenna


Taking over 17 years to construct, the Wake is the result of throwing multiple languages and systems of thought from countless cultures throughout history into an alchemical pot.  Joyce's decisions here were guided by voices from the past, the present, and even, as some have boldly suggested, the future.

If you have never skimmed the contents of the Wake, it is an unnerving confrontation with the bizarre, and impenetrable for the novice.  One cannot simply dive in head first; one must start slowly, almost as if one were a child learning how to read  (Pollard being no exception).  Knowing the competitiveness that drives a man like Pollard, being confronted with the language of Finnegans Wake (FW) must have lit a fire to discover all of it's secrets.

The best way to start is to cheat.  Find someone to hold your hand and take you into the mess (see Joseph Campbell's Skeleton Key to Finnegans Wake).   With plenty of miles to cover on the road from gig to gig during those years, I imagine Pollard spent some time with a few of the many guidebooks that help usher the novice into the Wake.

Personally, I was lucky enough to discover a book called Coincidance by Robert Anton Wilson.  After dozens of readings of Wilson's exegetical work on FW, I slowly started to grasp what Joyce was attempting with the construction of the Wake.  Many years later, when I fully realized what Joyce had accomplished, I awoke from what felt like a very, very long sleep; it had truly been forever since breakfast.

I get the sense that Pollard experienced much of the same thing.


Get Under It

According to Robert Anton Wilson,  Joyce's notes for FW reveal a runic architecture that Joyce used to build FW.  This architecture forms a family tree which drives the dynamics of FW, which ultimately reveal the inevitable recursive fall of man.  This family tree reflects not only the dynamics of the I Ching and the binary system of Leibniz, but also the dynamics of DNA and quantum physics as well.  It illustrates the intersection of spirit and matter, and is the way reality seems to be when it is stripped down to it's most naked state.




At the top of this family tree is The Tao.  The Tao is a poetic representation of non-locality, that which remains when the dimensions of space and time leave the building.  According to Joyce, when the Tao is expressed locally (in the space/time continuum) it manifests as the mutually exclusive entanglement known as Yin and Yang (Female and Male, Wave and Particle).

Yang = Male = Particle

A particle can be either positive or negative, just as Yang can be either active or passive.  These polarities are further refined into the neutral particle, the moving Yang, also expressed as the mutational aspect of DNA into RNA.

Robert Anton Wilson believes Joyce expressed his understanding of this unified polar dynamic as "space-oriented arts like painting in opposition to time-oriented arts like music, with the eventual synthesis of both into Joyce space-time prose being gently hinted at."

The symbol for this synthesis of space-oriented arts and time-oriented arts is:



Though not exact, it certainly looks a lot like a goal post, or a busted tuning fork.


If Pollard's study of Joyce had led him far enough down the rabbit hole to find this symbol, it's meaning would have been heard loud and clear.  This polar dynamic not only merges athletics (goalpost) and music (tuning fork), it also reflects the synthesis of an artistic duality, with collage as our space-oriented art, and rock and roll our time-oriented art.

As a sigil intends, this rune is gently reoriented as a reflection of the magician's personalized influence.



Catching Waves Again

The second component of the sigil is the triangle sailing through the uprights.  This triangle in Joyce's runic alphabet represents the divine feminine, the Yin, the negative coil of DNA, or the Wave aspect of matter.  It could also be considered a muse.

Yin = Female = Wave

In Pollard's sigil, the triangle is colored in, reflecting the magicians personalized influence.






Into the Void and Over the Goal Post

Why would Pollard choose to mutate and merge these particular runes into a sigil?    What could his intentions have been in 1996, with GBV on pause, and Pollard three years away from breaking through to the "big leagues" of major label rock and roll?



Here I go around the blame 
Here I go with hand over flame 
Down on the floor at 9:00 
A scene not fully recognized 
At precisely 9:00 
Here I go with clapping hands 
Here I go with "still no plans" 
Illuminate the mystery 
The film is not for view 
The film is not for you.

Bomb In The Beehive - R. Pollard