The violinist gave me a castration complex, her nut cracker legs were a seduction to sex and death. This act will not be pigeonholed. It is a deep critique of the search for stardom as a form of artistic recognition, inadvertantly, by revealing a lovely crassness that would spice up any evening. It contains a clandestine heroic significance. If they could learn mockery, they would be a strangely vanguardist musical force, but here I am giving away secrets, lol. Of course the esoteric question is…whose side am I on? You guessed, Beauty’s, right? The presumption of fascism is premature. Well manicured at the free Vietnamese nail salon, yes. Their poetry rests in their desire to conquer by the rules. Again, beautiful. Yet the rules stifle. (takes another bong hit) There is a lurking compromise with Texas line dancing. Perhaps they are Texans. Perhaps I’ll look at their Wikipedia page. Judging by the hat demographic, I’d say West of Delphi. And no Scots kilt jockey will feel out in the cultural cold wondering his relevance as part of something “bigger”. Well, size does matter, aks any ho and most particularly the poet ho. No specifics involved, just a salient identifier laying about in the great hammock archetype. There is obviously the wizardry of a “success consultant” at work here. Marvelous, simply marvelous. And the occasional flying hair homage to heavy metal, snicker, they’ve got good management, sigh. I guess Prussian Blue had good management. I hear they grew up and got smarter. Let’s all get smarter, lol!
Wikipedia: “Corvus Corax is a German band known for playing Neo-Medieval music using an abundance of authentic instruments. Their name is the Latin name for the Common Raven. Because medieval music theory was dominated by ecclesiastics, it is often difficult to determine from the existing manuscripts just how the secular medieval music sounded. Corvus Corax draws on a number of sources to try to make their music as authentic as possible: they have used documents that “condemn profane music” as an indicator of what the music might have sounded like, and drawn on nineteenth century scholarly treatises for information. In many cases these treatises are unreliable, as they impart more nineteenth century interpretations of medieval music than factual information on what the music was like. But the profane music of the day was often accompanied by a droning bass tone similar to that generated by the bourdon stop on an organ, which is provided in Corvus Corax’s case by the drones on their bagpipes. An inkling as to the harmonies used is found in a song by Walter von der Vogelweide, in which he calls for the song to be played “the old way”, meaning harmonising with thirds. At the time, the third was considered an awkward, ugly interval by the sacred musician — like the tritone, or diabolus in musica — but it was a common interval in folk music.”
The Teaches Of Peaches record release party, Berlin, October 2000.
Triple bypass at the double-A, triple-X
Here it comes
Make sure you can hear me before you speak up
All you motherfuckers step up
I like the innocent type
Deer in the headlight
Rocking me all night
Flexing his might
Doing it right
Keeping me tight
Taking a bite out of the peach tonight
Consider my suspicion
Let’s see if my intuition
Has any volition
‘Cuz I’m on a mission
For the emission
And the definition of my position
Yeah… there’s more…
I’m hexed I’m vexed
I’m in the devil’s text
Some people say that I keep my self-respect
Hidden in my cervix, next
Licky-licky sucky nobody here can tell me they don’t wanna fucky-fucky
I’m only double-A
But I’m thinking triple-X
I’m only double-A
Yeah, who’s gonna motherfucking stop me?
Hey motherfuckers step up
Who’s gonna motherfucking step up?
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“Take Five” is a jazz piece composed by Paul Desmond and performed by The Dave Brubeck Quartet on their 1959 album Time Out. Recorded at Columbia Records’ 30th Street Studio in New York City on July 1, 1959, fully two years later it became an unlikely one-hit wonder and the best-selling jazz single of all time. Written in the key of E-flat minor, it is famous for its distinctive two-chord piano vamp; catchy blues-scale saxophone melody; imaginative, jolting drum solo; and use of the unusual quintuple (5/4) time, from which its name is derived. It was first played by the Quartet to a live audience at the Village Gate nightclub in New York City in 1959.
Brubeck drew inspiration for this style of music during a U.S. State Department-sponsored tour of Eurasia, where he observed a group of Turkish street musicians performing a traditional folk song with supposedly Bulgarian influence that was played in 9/8 time, a rare meter for Western music (traditionally called “Bulgarian meter”). After learning about the form from native symphony musicians, Brubeck was inspired to create an album that deviated from the usual 4/4 time of jazz and experimented in the exotic styles he experienced abroad.
Dave Brubeck performing Take Five in 1961.