But polite and politic it is, to propitiate your hostess.
Herman Melville Mardi, Vol. 2 ch. 25:
5 Addicts
Quack
5 Dishonorable Discharged PERFORMANCE Roiling Foundering Fundament
and
5 Pynchonesque Catch-22s combine surreal conspiracicy that read "Born Too Loose," into howls against humanity, unnaturally lassitudinous, drugged unreliable from inside a what looked like a perfectly normal day
Assignation with burner memories ingrain spectator's exponential uptick in binaural regalement of impecunious shitshows, dissimilar in scope and scale but reminiscent of desperadoes to whom a martyr clings:
El Chapo
El Chapo momentously unloosing Time in a cage, buoyed amidst Zimbabwe Gloriosa, candle-flickering lillypads, extinguishable laughter as fecundity follows concordance.
Bilious hissings and baleful frutations dialectic intoxicates, facile disambiguously voiced, emboldened by unfamiliar arts, both audience and artist, no other charms follow youth, beauty and
innocence -- furrowed, inconspicuous firefighting arsons,
putting out his own fires with gasoline.
Blacklisted,
fumid, furtive,
days
and
dazed nights,
infelicitous, unpropitious,
and
unapologetic allies could be, but weren't
saying for them now whom could
or could not then say it, "I am sorry!"
PLUS
Look out! : disaster one night, sublime wonder the next.
Hades 2020,
drunken firedamp, sequestering adamite.
"Sum 69-poppin', horsewhippin' $30-hen-party, hang-em, move-em fans bidding black collectors, adroitly erudite, and-got-money-teens, report trainwrecks when onlooking, breakeven sons and bitches get nauseated before rap battles, or are afraid of heckler tarts, and attract relatives neatly coiffed multilayered Aveda cuts worth the 'hundo' because it's unbiased and stinking of aromatherapy, like filing this article on-location corespondent, human interest serial.
Masked Life Covid-19 2020Or
My 'Rona' Mask
AIN'T SHIT,
BUT
MY, MY, MY ... WHOOOO!"
De'l'exelle paginate nefariousness here?
Freddie Hubbard: 1967, unknown venue
Meltdown:
On a
bootleg tape that has been traded for decades, jazz trumpeter Hubbard
can be heard uncorking the following tirade to a jeering audience: "Fuck
you, white motherfuckers! [Voice in crowd: 'Go home!'] Well, OK, I'll
go home. If you don't like me, kiss my ass! That's right, 'cause you
jive, you jive, you jive! You white motherfuckers! You the ones who
started this shit! Lemme show you--you the ones--fuck you! Fuck you, you
white motherfuckers! [Hubbard starts to weep.] If you don't like me,
kiss my black ass! You motherfuckers! [The drummer starts the next
song.] Fuck it, I won't do it!"
Aftermath: Unknown, though this
was not the last of Hubbard's meltdowns. In 1977, he stormed off the
stage at Cleveland's Front Row, screaming, "Miles Davis, Miles Davis,
Miles Davis. I ain't Miles Davis, motherfuckers!"
Charlie Rich: 1975, Country Music Awards, Nashville
Meltdown:
On stage to announce his successor as CMA Entertainer of the Year, Rich
opened the envelope, announced that his "good friend John Denver" had
won and then set fire to the envelope and results card. Earlier in the
evening, Rich had been spotted backstage swilling gin-and-tonics and
autographing a woman's bare breast.
Aftermath: Rich's spin doctors
went into overdrive: His gaffe, they said, was thanks to pain
medications he'd taken to overcome a spider bite suffered while mowing
his lawn. (Yeah, that's the ticket.) Rich was pretty much finished by
this incident, and the CMA continues to hold a grudge long after his
death--despite being both a critical fave and the biggest artist in
country music for a few years in the early '70s, he is still not a
member of the Country Music Hall of Fame.
Jim Morrison: 1969, Dinner Key Auditorium, Miami
Meltdown:
Drunk beyond even his own impressive norms, Doors front man Jim
Morrison staggered onstage and berated the people of his native state
for being too dumb to leave Florida and move to California. He
encouraged the audience to strip naked. And then he started asking
questions. "You didn't come here for music, did you? You didn't come to
rock and roll. You came for something else, didn't you? You came for
something else--WHAT IS IT?" A long pause followed. "You want to see my
cock, don't you? That's what you came for, isn't it? YEAHHH!" And then
Morrison unleashed his love scud. Or maybe he didn't. To this day, no
one is sure.
Aftermath: Four days later, after attracting the
attention of the FBI and Richard Nixon, six warrants were filed for
Morrison's arrest. This was to have been the first show on a long U.S.
tour, but as word spread of Morrison's conduct, promoters canceled shows
and Doors songs were removed from radio playlists. Though Morrison
completed L.A. Woman after this incident, and his trial resulted
in only two misdemeanor convictions, the Miami incident effectively
ended his career. His life would end in a Parisian bathtub in July 1971,
unless you believe tabloids.
Grace Slick: 1978, Germany
Meltdown:
Jefferson Starship's European tour was not going well. At the Lorelei
Festival, their first show in Germany, fans rioted when it was announced
that singer Grace Slick was too sick to perform. The next night, in
Hamburg, the band probably wished Slick was still ailing. Drunk as a
skunk, she took the stage in a Nazi uniform, goose-stepped around the
stage and taunted fans about losing World War II, pausing occasionally
to insert a finger or two up the nostrils of puzzled German men, whom
she called a bunch of Nazis.
Aftermath: Slick quit the band
immediately after the show, and the group staggered on without her
through the rest of the tour. "I think she created punk rock that
night," recalled drummer John Barbata, but sadly, the rest of her career
was anything but punk. In 1981, she rejoined the band, dropped the
"Jefferson" and unleashed some of the worst and most unaccountably
popular rock of all time. "We Built This City," in particular, was voted
the worst song ever by Blender last year, and it's safe to say that no other creative decline will ever compare.In a shocking development caused by the economic devastation
of COVID-19, a mere half-mile
from each other announced they would be closing.
George Jones around 1975.
Gems/Redferns
hide caption
George Jones around 1975.
Gems/Redferns
"And I will be changed from this creature that I am." — Peace in the Valley
But
first, let's talk about the famous lawn mower situation. He was living
in Southeast Texas, married to second wife Shirley Corley. The man loved
his liquor, and Shirley thought she was so smart taking the keys and
leaving George home alone. There he was in the dark, staring out the
window at light gleaming off something. An idea ... Jones hopped on the
10 horsepower rotary engine vehicle, making maybe five miles per hour,
and rode all eight miles into Beaumont and the closest bottle of liquor.
The
incident appalled Jones. But what occurs to me today is how it could
have been a perfect little scene from one of his latter day songs: a guy
boiling his obsessions and self-loathing down to a deranged image, one
that seems to be happening to a different guy named George.
The country singer George Jones lived a rich and full life, which ended on Friday in a Nashville hospital.
He was 81. His voice, eccentric and impossible to follow, made him
among the most revered singers in pop music. He flushed cash down the
toilet and drank swimming pools of vodka, snorted cocaine and liked his
diet pills. He mattered because of that amazing voice, and because of
the wildness it so sharply described.
The things that
happened in his life, it was like they were happening to somebody else.
To himself his actions were as mystifying as a yeti. Iggy Pop gets the
love for daringly closing the space between performance and life, stage
and audience, but Jones was shooting the gap without any sense of
"concept," without a wink to fans, long before. He might or might not
show up at shows, he brawled and berated and drove those around him
crazy. He sang onstage in the voice of Donald Duck. He would not say he
was in control of events. In "The Stranger's Me,"
an oddball appears in town, wearing glasses and a black hat. Everybody
talks about him — and as soon becomes clear, the stranger is the singer,
a local now shamed by the town bad girl who broke his heart. In one of
his most famous songs, "The Grand Tour," Jones invites us to "step right up, come on in" and gives us a guided tour of the fiasco that is his life.
"I'm just trying to find myself, before I get too old," he sang in 1992.
In his autobiography he all but says he can't explain his actions. He
was the guy watching from the window up above, a great vantage for
observing some wildman drive by on a gas-powered lawn mower.
It
started in a small oil town in Texas, where he was born into a family
of Baptists who loved song. Daddy would come home drunk, wake up and
beat him with a belt unless he sang Roy Acuff
tunes sufficiently pretty. What singing meant: acceptance, relief,
punishment. His mature style was full of sudden pauses, like he's
stopping to kick a stone, and great indwelling swoops. Words get
underscored with a shocking intake of air, as if these words had
delivered a sudden gut punch. The world terrified and shocked this guy,
and the shock was visceral, communicated without examination. The lines
are constantly nuanced, not taken for granted, which in part you can
attribute to having learned that holding a listener's attention meant
the difference between a beating and its opposite.
The vocal
style was diverse and expansive: for someone who was as original as they
come, whose peers were Sinatra, Holiday, Cooke, he was unparalleled as
an accompanist and duet singer, of listening and fitting in. When George
Jones sang, he delivered you from one place to another: from the worst
broken heart of your life to shelter, from the bar stool to your car. He
began in the '50s as a hard-edged honkey-tonker, thrilled with winning
and losing in the nightlife. He became by the '70s a loner who was
trapped by his own obsessions and bad choices — and an even greater
artist. He lived long enough to make really good records in the '90s and
after, jaunty well-told-tales that played disaster and heartbreak for
style points and a smile.
In his final decades something
unexpected happened: call it surrender. Jones more or less put his
addictions aside, and his marriage to his fourth wife, Nancy Sepulvedo,
was his longest and most nurturing. He'd gone from being a pariah in
Nashville (when the hits dried up) to a mascot who got respect — a
bobble head doll that might punch out your lights. It's hard to think
he's gone.
28 years as a mecca of
electronic music and Goth/post-punk, closed abruptly last Friday,
according to a Facebook post made by owner Don Nedler. To add insult
toinjury, it was also announced on Monday that Lubbock-based country
music venue The Blue Light would be closing its Dallas location.
Both
closures were attributed to the steep cost of staying open combined
with insufficient revenue. As Blue Light owner Marc Torres said in a
Facebook announcement,
“[We] can’t pay bills if we can’t operate. Can’t
operate if we can’t book any shows. Can’t book any shows if bands can’t
tour.”
#charlixcx
| @charli_xcx (suis-je trop vieux pour laisser tomber #SueCatwoman?
#brookecandy | @brookecandy). Pas de #xtina #britney #taylor #ariana
ici.
Auspicieusement pruriente. Une féminité puissante merveilleusement agencée. On se préoccupe de sa #pussy (et tout le monde) à tout moment (#lennybruce avait raison, demystify par repetition).
But polite and politic it is, to propitiate your hostess.
Herman Melville Mardi, Vol. 2 ch. 25:
5 Addicts
Quack
5 Dishonorable Discharged PERFORMANCE Roiling Foundering Fundament
5 Pynchonesque Catch-22s combine surreal conspiracicy that read "Born Too Loose," into howls against humanity, unnaturally lassitudinous, drugged unreliable from inside a what looked like a perfectly normal day
Bilious hissings and baleful frutations dialectic intoxicates, facile disambiguously voiced, emboldened by unfamiliar arts, both audience and artist, no other charms follow youth, beauty and innocence -- furrowed, inconspicuous firefighting arsons,
putting out his own fires with gasoline.
Blacklisted,
fumid, furtive,
days
dazed nights,
"I am sorry!"
PLUS
Look out! : disaster one night, sublime wonder the next.
Hades 2020,
drunken firedamp, sequestering adamite.
"Sum 69-poppin', horsewhippin' $30-hen-party, hang-em, move-em fans bidding black collectors, adroitly erudite, and-got-money-teens, report trainwrecks when onlooking, breakeven sons and bitches get nauseated before rap battles, or are afraid of heckler tarts, and attract relatives neatly coiffed multilayered Aveda cuts worth the 'hundo' because it's unbiased and stinking of aromatherapy, like filing this article on-location corespondent, human interest serial.
Masked Life Covid-19 2020Or
My 'Rona' Mask
AIN'T SHIT,
BUT
MY, MY, MY ... WHOOOO!"
De'l'exelle paginate nefariousness here?
Freddie Hubbard: 1967, unknown venue
Meltdown:
On a bootleg tape that has been traded for decades, jazz trumpeter Hubbard can be heard uncorking the following tirade to a jeering audience: "Fuck you, white motherfuckers! [Voice in crowd: 'Go home!'] Well, OK, I'll go home. If you don't like me, kiss my ass! That's right, 'cause you jive, you jive, you jive! You white motherfuckers! You the ones who started this shit! Lemme show you--you the ones--fuck you! Fuck you, you white motherfuckers! [Hubbard starts to weep.] If you don't like me, kiss my black ass! You motherfuckers! [The drummer starts the next song.] Fuck it, I won't do it!"
Aftermath: Unknown, though this was not the last of Hubbard's meltdowns. In 1977, he stormed off the stage at Cleveland's Front Row, screaming, "Miles Davis, Miles Davis, Miles Davis. I ain't Miles Davis, motherfuckers!"
Charlie Rich: 1975, Country Music Awards, Nashville
Meltdown: On stage to announce his successor as CMA Entertainer of the Year, Rich opened the envelope, announced that his "good friend John Denver" had won and then set fire to the envelope and results card. Earlier in the evening, Rich had been spotted backstage swilling gin-and-tonics and autographing a woman's bare breast.
Aftermath: Rich's spin doctors went into overdrive: His gaffe, they said, was thanks to pain medications he'd taken to overcome a spider bite suffered while mowing his lawn. (Yeah, that's the ticket.) Rich was pretty much finished by this incident, and the CMA continues to hold a grudge long after his death--despite being both a critical fave and the biggest artist in country music for a few years in the early '70s, he is still not a member of the Country Music Hall of Fame.
Jim Morrison: 1969, Dinner Key Auditorium, Miami
Meltdown: Drunk beyond even his own impressive norms, Doors front man Jim Morrison staggered onstage and berated the people of his native state for being too dumb to leave Florida and move to California. He encouraged the audience to strip naked. And then he started asking questions. "You didn't come here for music, did you? You didn't come to rock and roll. You came for something else, didn't you? You came for something else--WHAT IS IT?" A long pause followed. "You want to see my cock, don't you? That's what you came for, isn't it? YEAHHH!" And then Morrison unleashed his love scud. Or maybe he didn't. To this day, no one is sure.
Aftermath: Four days later, after attracting the attention of the FBI and Richard Nixon, six warrants were filed for Morrison's arrest. This was to have been the first show on a long U.S. tour, but as word spread of Morrison's conduct, promoters canceled shows and Doors songs were removed from radio playlists. Though Morrison completed L.A. Woman after this incident, and his trial resulted in only two misdemeanor convictions, the Miami incident effectively ended his career. His life would end in a Parisian bathtub in July 1971, unless you believe tabloids.
Grace Slick: 1978, Germany
Meltdown: Jefferson Starship's European tour was not going well. At the Lorelei Festival, their first show in Germany, fans rioted when it was announced that singer Grace Slick was too sick to perform. The next night, in Hamburg, the band probably wished Slick was still ailing. Drunk as a skunk, she took the stage in a Nazi uniform, goose-stepped around the stage and taunted fans about losing World War II, pausing occasionally to insert a finger or two up the nostrils of puzzled German men, whom she called a bunch of Nazis.
Aftermath: Slick quit the band immediately after the show, and the group staggered on without her through the rest of the tour. "I think she created punk rock that night," recalled drummer John Barbata, but sadly, the rest of her career was anything but punk. In 1981, she rejoined the band, dropped the "Jefferson" and unleashed some of the worst and most unaccountably popular rock of all time. "We Built This City," in particular, was voted the worst song ever by Blender last year, and it's safe to say that no other creative decline will ever compare.In a shocking development caused by the economic devastation of COVID-19, a mere half-mile from each other announced they would be closing.
George Jones around 1975.
Gems/Redferns hide caption
George Jones around 1975.
Gems/Redferns
"And I will be changed from this creature that I am." — Peace in the Valley
But first, let's talk about the famous lawn mower situation. He was living in Southeast Texas, married to second wife Shirley Corley. The man loved his liquor, and Shirley thought she was so smart taking the keys and leaving George home alone. There he was in the dark, staring out the window at light gleaming off something. An idea ... Jones hopped on the 10 horsepower rotary engine vehicle, making maybe five miles per hour, and rode all eight miles into Beaumont and the closest bottle of liquor.
The incident appalled Jones. But what occurs to me today is how it could have been a perfect little scene from one of his latter day songs: a guy boiling his obsessions and self-loathing down to a deranged image, one that seems to be happening to a different guy named George.
The country singer George Jones lived a rich and full life, which ended on Friday in a Nashville hospital. He was 81. His voice, eccentric and impossible to follow, made him among the most revered singers in pop music. He flushed cash down the toilet and drank swimming pools of vodka, snorted cocaine and liked his diet pills. He mattered because of that amazing voice, and because of the wildness it so sharply described.
The things that happened in his life, it was like they were happening to somebody else. To himself his actions were as mystifying as a yeti. Iggy Pop gets the love for daringly closing the space between performance and life, stage and audience, but Jones was shooting the gap without any sense of "concept," without a wink to fans, long before. He might or might not show up at shows, he brawled and berated and drove those around him crazy. He sang onstage in the voice of Donald Duck. He would not say he was in control of events. In "The Stranger's Me," an oddball appears in town, wearing glasses and a black hat. Everybody talks about him — and as soon becomes clear, the stranger is the singer, a local now shamed by the town bad girl who broke his heart. In one of his most famous songs, "The Grand Tour," Jones invites us to "step right up, come on in" and gives us a guided tour of the fiasco that is his life.
"I'm just trying to find myself, before I get too old," he sang in 1992. In his autobiography he all but says he can't explain his actions. He was the guy watching from the window up above, a great vantage for observing some wildman drive by on a gas-powered lawn mower.
It started in a small oil town in Texas, where he was born into a family of Baptists who loved song. Daddy would come home drunk, wake up and beat him with a belt unless he sang Roy Acuff tunes sufficiently pretty. What singing meant: acceptance, relief, punishment. His mature style was full of sudden pauses, like he's stopping to kick a stone, and great indwelling swoops. Words get underscored with a shocking intake of air, as if these words had delivered a sudden gut punch. The world terrified and shocked this guy, and the shock was visceral, communicated without examination. The lines are constantly nuanced, not taken for granted, which in part you can attribute to having learned that holding a listener's attention meant the difference between a beating and its opposite.
The vocal style was diverse and expansive: for someone who was as original as they come, whose peers were Sinatra, Holiday, Cooke, he was unparalleled as an accompanist and duet singer, of listening and fitting in. When George Jones sang, he delivered you from one place to another: from the worst broken heart of your life to shelter, from the bar stool to your car. He began in the '50s as a hard-edged honkey-tonker, thrilled with winning and losing in the nightlife. He became by the '70s a loner who was trapped by his own obsessions and bad choices — and an even greater artist. He lived long enough to make really good records in the '90s and after, jaunty well-told-tales that played disaster and heartbreak for style points and a smile.
In his final decades something unexpected happened: call it surrender. Jones more or less put his addictions aside, and his marriage to his fourth wife, Nancy Sepulvedo, was his longest and most nurturing. He'd gone from being a pariah in Nashville (when the hits dried up) to a mascot who got respect — a bobble head doll that might punch out your lights. It's hard to think he's gone.
28 years as a mecca of electronic music and Goth/post-punk, closed abruptly last Friday, according to a Facebook post made by owner Don Nedler. To add insult toinjury, it was also announced on Monday that Lubbock-based country music venue The Blue Light would be closing its Dallas location.
Both closures were attributed to the steep cost of staying open combined with insufficient revenue. As Blue Light owner Marc Torres said in a Facebook announcement,
“[We] can’t pay bills if we can’t operate. Can’t operate if we can’t book any shows. Can’t book any shows if bands can’t tour.”
#charlixcx
| @charli_xcx (suis-je trop vieux pour laisser tomber #SueCatwoman?
#brookecandy | @brookecandy). Pas de #xtina #britney #taylor #ariana
ici.
Auspicieusement pruriente. Une féminité puissante merveilleusement agencée. On se préoccupe de sa #pussy (et tout le monde) à tout moment (#lennybruce avait raison, demystify par repetition).
Et gynecologically гинекологи́ческий woke.
Pour les acheteurs difficiles , elle et sa vagina sont des fascinators rares avec pleasure.
© 2020 @Instagram @Facebook
Suivez Charli XCX:
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https://www.tiktok.com/@charlixcx
https://twitter.com/charli_xcx
https://facebook.com/charlixcxmusic
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AH Dicti.(n.time.cacouris christina cacouris christina castina, christacouris, christis, cana, content.htmlcacouris christina cacouris christina castina, christacouris, christis, cana, content.(n.time.May 16 2020 http: christina cacouris christina cacouris chricouris, cana, christacouris, cacouristina, cana, cacouna, ctina, 00.propinquity.d.
s, peut-?tre le regret de voir s'?vanouir ma puissance naissante, assaillirent mon ?me et m'aveugl?
omble d'horreur. Ils tiennent malgr? tout ma puissance asservie, et si je m'essayais ? te sauver la
s ! 2e LIVRE (XV) Esprit astucieux, adorable puissance , qui sans cesse guides ma main sur la corde
lait que cette femme f?t un mythe, ou qu'une puissance myst?rieuse pr?t plaisir ? nous ?loigner l'u
es en s'?loignant de la terre. Mais, sous la puissance de *Taaroa, elles commenc?rent ? trembler, f
nuits tahitiennes, qui pr?dispose ? subir la puissance enchanteresse de la musique. Le morceau choi
es premi?res ann?es, - ? ce charme qu'aucune puissance ne peut plus me rendre, -? tout cela que je
ante, comme sous l'?treinte d'une t?n?breuse puissance . Alors ceux m?mes qui n'?taient pas de quart
gue comme un grand aimant patient, s?r de sa puissance et pouvant attendre. Ma soeur, et mon fr?re
it le vent, la grande ?me de ce d?sordre, la puissance invisible menant tout. Il faisait peur, mais
is quoi de grotesque et d'inqui?tant dans sa puissance difforme. Et pendant qu'on se regardait l?,
ement la vierge tant pri?e, ou quelque autre puissance comme elle, voulait lui faire la gr?ce, par
ssions humaines ne s'arr?tent que devant une puissance morale qu'elles respectent. Si toute autorit
mat?riel, elle ne reste pas ? l'?tat de pure puissance , mais manifeste sa pr?sence par des effets s
ux que la conscience collective a le plus de puissance . C'est donc toujours ? cette derni?re qu'il
l'id?e d'une satisfaction accord?e ? quelque puissance , r?elle ou id?ale, qui nous est sup?rieure.
, de s?paration de corps et de biens, sur la puissance paternelle, sur les effets de l'adoption, su
ce sup?rieure ? l'homme individuel, pour une puissance , en quelque sorte, transcendante, sous quelq
puisque, des trois conditions dont d?pend sa puissance d'action, deux au moins perdent de leur inte
raire ce sont ces derniers qui expliquent la puissance et la nature de l'id?e religieuse. Parce que
derni?re sont donc pour peu de chose dans la puissance extraordinaire dont elle est investie. Si, d
ns une famille, lui ont communiqu? une telle puissance . Quant ? la sup?riorit? personnelle du chef,
u des relations durables ? Et pourtant cette puissance de s'attacher n'est-elle pas l'indice d'une
arisme et l'ascendant de l'industrialisme la puissance comme la port?e de l'autorit? diminuent et q
us librement, mais par l'interm?diaire d'une puissance publique, ? savoir l'?glise, et le r?le de c
uestion qui se pose est de savoir, non si la puissance coercitive dont dispose cet appareil r?gulat
peut assigner aucune borne rationnelle ? la puissance productive du travail. Sans doute, elle d?pe
ir encore davantage. Mais, en r?alit?, notre puissance de bonheur est tr?s restreinte. En effet, c'
ls se sont tant tourment?s pour accro?tre la puissance productive du travail, ce n'?tait pas pour c
ts volontaires est la meilleure preuve de la puissance et de l'universalit? de cet instinct, le fai