writer’s block

you stayed in your life

waiting until the passing had done

gone now the butterfly…

flown with the best

still waiting for summit

you will stay in your life

wasting away…

lost in your voice

away and gone past the hills of pasture

stuck in your ways…

you will stay in your life

stuck in your ways

always waiting for the best to come.

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and still it’s you

only in the night do i find you

drifting below like a haze

summer gone still long nights

now i’m the one to roll the dice

oh! you’ll be the last to know

and still it’s you

taking all these rules

just to gain a new view

now i wanna keep singing

just to shout your name

oh! you’ll be the last to know

and still it’s you

now i’m shaking all over

summer gone there’s no rules

and nothing that can keep me away

away from a breeze like you

oh! you’ll be the last to know

and still it’s you

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Incubus: 8 (album, 2018)

allmusic.com

Format: Spotify

obvious emo influence, “buried myself alive” : the used

going for the interval lead, more buried on the right, blended in

[insert narrative here]

opener: a little redudandt…

glitterbomb reminiscent of privilidege, they seem to be reaching for an old sound with a balanced twist, giving this album a nice listen for those of us burned out on unispired lyrics from their past two albums.

<!–>gets better over the years<–>

An obvious new direction: they embraced the emo of the late mtv “trl” generation

Why: reminiscing over the days when music played on television, they embraced the dream like melodic structure of the 60s psych pop genre, with the vocals becoming more strained as Brandon Boyd, lead singer, embraces his tenor register, with a little frog voice to grip the womens’ vaginas.

The drums have become more bombastic, with a Blink 180 influence to balance out the new direction.

Sad news, the album barely registered on these Spotify laden ears, as I haven’t listened to the radio is three years. Like reminiscing of my old Vans Warped Tour travelling days, I feel a nostalgia for youth that the driven rhythm provides. Boyd seems out of time, but then again, I don’t remember even liking this album upon first hearing.

Call me a poser.

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hey there

a-174828-1417714154-1246-jpeg

 who will love you…

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Blade Runner 2049 (film, 2018)

dennis villneuve

he’s real…

I feel for you…

Quickly love, this one is a mystery. He’s real he’s real!

Dennis Villneuve seems to be onto something recently. Like a European logic delete, he keeps the audience at bay to keep the poetry real. A little off, this time we know Deckard is a human. Unless you’re a moron who likes conspiracy theories.

The point: what the hell is Ryan Gosling, who plays Officer K, doing in this film besides sleep walking through a role? An obvious nod to the original, the question centers on whether or not he is now a replicant. As for me, I just like his chisseled chin. That and his grip on his gun.

The film focuses on the next batch of replicants who seem to have a new origin. K, who works for the Los Angeles Police Department (LAPD) as a blade runner, opens the film with the traces of Sicario to maintain Villneuve’s griphold on the field. At a protein farm, he retires Sapper Morton and finds a box buried under a tree. The box contains the remains of a female replicant who died during a caesarean section, demonstrating that replicants can reproduce sexually, previously thought impossible.

K’s superior, Lt. Joshi, is fearful that this could lead to a war between humans and replicants. She orders K to find and retire the replicant child to hide the truth.

It’s becoming apparent at this point that these replicants are pretty much human, with Leto’s character, Niando Wallace, playing the creator. It’s a allegory for the creation of man at the expense of corporations, a visual metaphor for test tube babies who are litteraly born out of a faux-vagina in the sky.

K visits the headquarters of the Wallace Corporation, the successor-in-interest in the manufacturing of replicants to the defunct Tyrell Corporation. Wallace staff identify the deceased female from DNA archives as Rachael, an experimental replicant designed by Dr. Eldon Tyrell. K learns of Rachael’s romantic ties with former blade runner Rick Deckard. Wallace CEO Niander Wallace wants to discover the secret to replicant reproduction to expand interstellar colonization. He sends his replicant enforcer Luv to steal Rachael’s remains from LAPD headquarters and follow K to Rachael’s child.

At Morton’s farm, K sees the date 6-10-21 carved into the tree trunk and recognizes it from a childhood memory of a wooden toy horse. Because replicants’ memories are artificial, K’s holographic AI girlfriend Joi believes this is evidence that K was born, not created. He searches the LAPD records and discovers twins born on that date with identical DNA aside from the sex chromosome, but only the boy is listed as alive. K tracks the child to an orphanage in ruined San Diego, but discovers the records from that year to be missing. K recognizes the orphanage from his memories and finds the toy horse where he remembers hiding it.

Dr. Ana Stelline, a designer of replicant memories, confirms that the memory of the orphanage is real, leading K to conclude that he is Rachael’s son. At LAPD headquarters, K fails a post-traumatic baseline test, marking him as a rogue replicant; he lies to Joshi by implying he killed the replicant child. Joshi gives K 48 hours to disappear. At Joi’s request, K reluctantly transfers her to a mobile emitter, an emanator, so he cannot be traced through her console memory-files. He has the toy horse analyzed, revealing traces of radiation that lead him to the ruins of Las Vegas. He finds Deckard, who reveals that he is the father of Rachael’s child and that he scrambled the birth records to protect the child’s identity; Deckard left the child in the custody of the replicant freedom movement.

While a technical achievement, this one is too easy to call a masterpiece. Like sleeping walking through a dream, Officer K clearly is remembering a hidden past that the film tries to insist is a total recall. The joke: he’s human, just like you and me.

That, or Harrison Ford gives his best straight face to pass the role on to Rutger Hauer, who finally gets to be the cop. For Gosling, he’s just a tool for the nepotist angle: meta, he’s stoic.

Why he dies?

Tears in the rain, baby.

(It’s to give his sister his freedom…)

    –Marissa Tomei

 

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deny his maker

he tries to take her role

just to say he’s loving you

taking you to the grave

six feet under…

 

still missing you

trouble in nashville

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why do they do what they do

uh huh

got nah

gonna give it to ya

just so you want more

 

uh huh

nah nah

gonna give it to ya

just so i’m not a bore

 

like a sore thumb and a blister

i’m going to let this gaga list her

put one in the book

and I’ll mark it with my crook

 

under it again…

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