Stone Age HAA The Holy MAA

Stone Age HAA The Holy MAA

Writing - Noise - Magic

Monday, March 31, 2014

SPACE

Before Hubble, we didn’t know whether or not black holes existed in nature. Now we know they are at the heart of every known galaxy. We didn’t know other planets existed, and now we know they litter the universe, dripping with carbon and water.  Because of Hubble, we know the age of the universe: 13.8 billion years.

Thank you Hubble. Happy twenty-fourth birthday to you. Now we don’t have the money to send people out to fix you anymore, and maybe you're too far away to reach anyway, and so off you go, alone.

I grew up on lush, tree-lined Twelfth Street northwest in Canton, Ohio. Just up the hill from an elegant and mysterious park established in the gilded age. My neighborhood was borderline lousy—I was not allowed to go south of Tenth Street. But the century-old maples made us feel safe. Early memories, and middle memories streamed throughout my childhood are grounded by the oceanic whispers of the patient maples and their cool shadows twitching with sunlight on the sidewalks. The trees breathed through long hours, long years.

Canton is the second most dangerous small city in the United States. My father told me this week that the telephone company didn’t want to maintain the trees anymore, so they cut down all the trees on my old street. I don’t know how that worked exactly, cutting down trees in private yards, but they did, and my dad said it looks desolate, barren.

I can never show my daughter where I grew up because I grew up under those trees. Living, pulsing, patient trees. Where are they now?

What about the squirrels and birds who lived in those trees? And the people behind the windows? Children and old people and caretakers who couldn't stop the slaughter of the trees?

My parents don’t live on that street anymore. They live out in the country, in the woods. It’s a secret, where they live.


I’m never outside in dreams, always in houses, moving through rooms. I’m never in Outer Space—just Art Deco elevators, unknown eaves, dripping basements.

Monday, March 17, 2014

MYSTERY LINKS

Hey guys, this week I've compiled some of my favorite links to sites that enhance my awareness of the vaster dimensions of life. There is some great stuff out there. I hope you enjoy checking them out - maybe something on one of these pages will spark something inside.



Here is a powerful little gem:
STARHAWK GROUNDING MEDITATION

We are drawn to animal videos because they confirm our suspicions that love is real:
ELEPHANTS REUNITED

Ram Dass is my favorite--I listen to him on youtube all the time:
RAM DASS

This is a beautiful site:
MYSTIC MAMMA

Psalm Isadora is a wonderful teacher who generously posts videos that show how to quickly tap into your Shakti power:
PSALM ISADORA

This is an insightful talk on how our culture's fascination with vampires relates to our relationship with the earth:
MARGOT ADLER

I found this page after reading Lame Deer, Seeker of Visions by John (Fire) Lame Deer and Richard Erdoes--wonderful book.
LAKOTA SPIRITUAL PRACTICE

This is an excellent article about the powerful practice of San Kalpa, whereby a person makes a sacred vow to herself or himself.
SAN KALPA


This is a sweet site where one subscribes for 20 dollars a month and has access to tons of yoga classes--high quality stuff. I've been practicing yoga for fourteen years, and I learned so much from this site by sampling various styles.
YOGAVIBES

Did you know that Iceland recently overthrew their government because it had become corrupted by big banks? Oddly enough, there has been a media blackout on this in the United States...
POWER

Sweet, easy partner yoga you can do with your clothes on or off:
SIMPLE TANTRIC POSES FOR LOVERS

An intelligent handling of a difficult concept:
DETACHMENT

We are sound, we are alive:
SOUND

Plants are also alive:
PLANTS

Taking time to experience sex more holistically:
SEX

Beautiful page dedicated to The Moon:
MOON

Big bang evolution time-line:
TIME

Ah--interactive that shows the scale of all the little things, the big things and us. Really amazing. "As above, so below":
UNIVERSE

Monday, March 10, 2014

PORTION

Katis walks east – away from the big June sun – and stops when she sees cousin Stripe coming at her a block up – his t-shirt drenched with blood. He sees her and runs like a bear – she dips into an alley.
Katis presses her shoulder blades into the brick wall – the wall is cold and hard and she doesn’t want to move at all. She presses her spine deeper and feels the little sweat beads growing on her face. There are now more pores giving small sweat beads than ever before in her life has she known.
She sees him run past and looks out after him running so fast. The back of his t-shirt is just teal.
Exhaling Katis looks and the street is empty – she knows nothing about how long she waits. She lost her cellphone in the sewer and knows nothing about time passing. She lost the phone on purpose maybe because she saw a sign that said, “call from your cell”. And she didn’t want it any more. From your cell. So after texting to Stripe [dont forget about the pie] the phone jumped from her hands like a fish into the sewer hole.
The street is so hot it’s making a smell like a living thing.
The pie is Betty’s blueberry reefer butter pie. It’s Stripe’s business about the pie because Betty is his mother. Katis arranged for her co-worker to purchase the pie for some good money. All Stripe had to do was take it to the little park by the highway where the co-worker and probably all her little children would be waiting in some bubble tall car that wasn’t a truck or van.
Stripe is not slow, but some say so. Since Katis was born, Stripe has been in the picture. She’s always just been more at Stripe's family's house. You come into the house and he's there. Playing computer solitaire, or beating listless on that half broke drum set in the basement. You can say, Stripe – there’s a world out there with jobs and girlsfriends etc., but he isn’t interested.
After the phone, Katis was free to roam a while, taking in the messages from the creatures in her neighborhood. Robins, blackbirds of some kind, a grey cat. So much singing.
But some time had passed and Stripe had pulled up and said, come on Katis. Let us go deliver the pie together. He put his hand to his mouth, to hide his mouth. His hair was a grown-out spike, too long in the back. His face was like when he wanted to play with the action figures when they were kids, but she wanted to go to the mall and meet her friends. This made her maybe feel she should go with him.
But somehow she said, no thanks – I don’t like my co-workers. My job sucks. Shaking her head, her hands flat up at him while he drove slowly at her walking pace.
Stripe always wanted to hang out with Katis.
She said, what are you in love with me or what, go on, get out of here.
 Then he drove off.
Later she saw him on Cohassett and Madison, on foot, covered in blueberry. What happened. She ran.
Now she’s thinking she could leave this town. But. She has no money. Not even a cell. She keeps touching her pocket. She makes her way back to Betty’s house.
Betty sees herself in Katis – this Katis knows from the way she seems to put her in such low regards and esteems. When Betty says, “Katis – you should go to Tri-C to learn phlebotomy. Get you off my couch.” Katis knows she is saying, “You could have the things I should have had, such as a ranch house, and a wedding with a full wedding party, and an I-Pad.”
Betty says, “Don’t bring that cross-eyed white trash in here,” Katis hears, “You deserve better.”  Betty says, “Don’t you have somewhere else do go?” Katis hears, “Stay. With me.”
Putting up with Stripe is the price for having a mentor such as Betty. Betty smokes weed with Stripe behind the garage. They sit in shorts on the itchy grass. Katis’s real mother is a church type. She has a spunky haircut and prefers the other children. Katis would rather drink hot yeasty beer out of a can and watch Stripe fail on a skateboard in the driveway for four hours than spend one dinner with her mother. Her mother looking past her, anywhere but her eyes.
Katis lingers on the tree lawn. It is hot as balls. On the porch Betty says, “Get in here girl! What the fuck. I called you like three times.”
Katis’s face is all muddy and her hair is flattened into a part all the way through her crown. She apologized and asked about the pie. She sits down and bites into a green apple she pulled out from somewheres.
            “Child. You tell me about my pie. Stripe’s in the bathtub salty as fuck. Said some man showed up instead and smashed the pie all over him. What’s that about?”
            “I guess it would be her husband. They’ve all got the same one.”
            “Oh philosophy from the Pizza Hut food prepper. Thanks ugly, but you need to go on out of here. Get.”
            Katis’s face fell. Betty told her rejection is how her cousin feels that she doesn’t want to know him, to hand out with him. Katis is nothing like her father – he’s a city councilman. Salt and pepper beard. Warm-hearted and well-read. Betty says to Katis, “Why don’t you go stay with your father.”
            But Katis just goes out pouting – Betty doesn’t know why she doesn’t talk to her father. The child has special needs that she can’t do anything about.


            Aunt Betty even doesn’t want to see this face. Upstairs, Stripe starts singing in the bathtub, Katis can hear him from the tree lawn. Content to check for acorns on the front lawn a while. She know Betty’ll call her back in. Baby boomers get so pissy. She doesn’t know where to go so she goes back to the little park where Stripe was supposed to meet her co-worker.
            It’s hot – oh it takes an hour to walk there and her scalp is all slimy – the sun hurts her head for sure.
            The park is the size of a living room sunken into a green factory lawn on two sides and street level with two busy streets on the other sides. Some gift from the factory to the city. A pittance. No one stops here. She feels sweet on her scalp dripping like bugs, and she wants to take off her dark hair.
            She’se got that itch in her throat, and knows she needs a drink. The air smells like bruised yellow flowers and exhaust. But she lost her sunglasses and in the bright her sinuses are awful, so she stays in the little park for the shade. How will she get a drink. The sun is so awful beating on the sidewalk out dere – is it even noon? Solar noon. How can this day get any longer.
            Then the co-worker shows up. She pulls up, says get in, Katis gets in.
            She ask her co-worker Shelly, "What are you doing here", she pulls the sun blocker down, her eyes pinching already. No AC, the car is even hotter than outside. Shelly smokes desperately. Katis hates Shelly's flat hair on top that frizzes out on the sides.
            “I saw you – thought I should explain. Your phone keeps going to voicemail.”
            It seems like the kids aren’t here, but Katis looks back and there they are. A baby backwards in a car seat in the middle flanked by two leggy scrubs. “They’re quiet.”
            “It’s the heat. Makes everything limp.”
            “My cousin’s in the bathtub. My aunt tossed me out.”
            “It’s Matt. He looked through my texts – thought I was sneaking out on him. Ironic because it was supposed to be a surprise for him. Our seven month anniversary. Which I guess he forgot about.”
            “My father says most people misuse the word irony.”
            “We’ve been giving each other gifts on the 12th of the month – the anniversary of our first kiss. I guess that part is over.”
            Katis sucked her cheek. “He says it just means sarcasm. But I remember literary irony being different, like the reader knows something the character doesn’t know, so that’s more like how people use it, but for life.”
            Shelly sank a tiny storm of cigarette smoke out the window. “I thought, if this one is still nice to me after the three month mark, and can still see me. If he doesn’t start getting short, or trying to fart on me, or blaming me for his shitty job, after the three month, then he’s the one.”
            “I guess people need to use irony like this. Because what else could you call it? ‘Something is expected to be one way but is actually the opposite, poignantly and revealed not to everyone at once’?” 
            “Do you need a place to crash or something, Katis?”
            “It’s like healthy. People, and advertisers, misused the word so much, as an adverb, that is has actually changed. But that’s language evolution.”
            She asked Katis again if she needed a place to crash for a few days.

            "No, Shelly. I just need to pay my aunt for the pie.” Katis looked at her.
            “But. I never got the pie.”
            “So. Betty made it for you.” The Xacto knife from Katis’s pocket came out and slashed her arm.
            “Fuck! Katis. The fuck!”
            The leggy boy began to wail as the car jolted and a string of Shelly’s blood bobbed down to the parking brake.
            “One hundred dollars.”
            “Betty said fifty!”
            “It’s for Stripe’s humiliation.”

            Stripe and Betty and Katis are back on the couch. Kim Kavorkian’s was on tv. Stripe has his hand on the back of Katis’s neck, her neck sticky with the day’s sweat.
            “I don’t care. I am not going back to Pizza Hut.” She says. Her voice like a radiance. Like a bell.
   “Fuck it.” Says Betty.
            The door was open but the air was still still. They had the fan on full blast. But it didn’t seem to reach them.
            “You’re hand’s burning my neck.”
            Stripe took an ice cube from Katis's Sierra Mist and gently circled it on the back of her neck, her skin.

Katis said nothing but went limp against him.

Monday, March 3, 2014

LIGHTS… CAMERA… SUICIDAL!

Blaster of Reality returns with another review...


Suicidal Tendencies are a lot of things to a to a lot of different people and have held many distinctions throughout their storied career. They are one of the first prominent predominantly Latino Hardcore/Punk bands, Flipside magazine’s "Worst BandBiggest Assholes" in 1982, the first Hardcore band to have a video on MTV via "Institutionalized" in 1983, one of the earliest West Coast Hardcore bands and contemporaries of Black Flag, tour mates (in many combinations) of Anthrax, Megadeth, Slayer, Metallica and Pantera, one of the first bands to fuse Hardcore/Punk riffs with Thrash Metal technique and sociopolitical lyrics and conscience with heavy metal to create the sub-genre known as Crossover, and one of the most enduring acts of its type to this day, still active recording and performing. Suicidal Tendencies maintain a rabid fan base and their shows are one of the few where it's ok for both fans and the band to wear the bands t-shirts and other clothing.
Lights…Camera…Revolution!  (Epic, 1990), is possibly Suicidal Tendencies only truly great album, and an all-time masterpiece. It is true that Long Island’s Crumbsuckers had already combined Hardcore, Thrash, heavy metal, and guitar pyrotechnics seamlessly on Life of Dreams four years earlier, but Suicidal perfect that admixture on Lights… and expands upon it even further, incorporating chorus-laden, almost tinkling clean guitar plucking, Funk influences, riffs that could out-Sabbath Sabbath, and consistent quality throughout in every way. In short: they put more thought, planning and raw skill into the process—they do it better, and more memorably. It is an album borne of learning from mistakes and improving, with better line-up, songwriting, and musicianship, the sound of a band at its artistic and sonic peak, both lyrically and production-wise. It eschews the tunelessness of its predecessor How Will I Laugh Tomorrow If I Can't Even Smile Today? The addition of future Ozzy Osbourne and Metallica bassist Robert Trujillo and his interplay with the members who welcomed him in has more than a little to do with that. Lyrically, it is pitch-perfect and epitomizes Punk in that the lyrics are equal part menacing and humorous. Lights… is Suicidal Tendencies’ Coma of Souls or Seasons in the Abyss.
Each track on Lights… contains tons of good elements. Opener "You Can't Bring Me Down" is a classic Suicidal Tendencies anthem, replete with defiant, confrontational lyrics, opening guitar harmonics, and a cool breakdown with clean guitar plucking, gang vocals, speed metal tempo and the obligatory Cyco Miko rant coming out of the breakdown ("Just because you don't understand…") 10/10. Next up is "Lost Again", which explores another popular Suicidal theme of unhappiness, emotional stress, and inner feelings. It isn't a fast number but does have tons of cool connecting tangents in between the main verses and a truly superb arrangement. Even though "Lost Again" is mid-tempo it is definitely not boring. The "What's gone wrong with me…" speed-up near the end and ensuing solo create the perfect ending. "Lost Again" has subject matter similar to track number eight, "Emotion No. 13", as well as a similar feel. They are almost like versions of each other but the strength of the overall songs save them from being mere filler, as does the cool, creative drumbeats used in both jams. Upon further examination, their placement on the release also lends to a strange symmetry for the track listing of this release. The fast part of "Emotion No. 13" also seems to be the inspiration of the verse of "Welcome to New Jersey" by the X-Cops, and possibly the fast breakdown of "Quite Pissed of This Shit" by Failure Trace. Third up is their MTV jam "Alone". True, it is a power ballad of sorts but it shares more DNA with say, "Dream On" by Aerosmith or Metallica's "Fade to Black" than contemporary wankers like Winger or White Lion. It's one of my top five Suicidal jams and its inclusion serves to strengthen the overall release though the diversity of including it in addition to the song itself being killer. Lyrically it remains in "emotional" territory but goddamn if these guys can't come up with some excellent chord progressions and arrangements. It starts out kind of "ballad-y" with chorus-heavy clean guitar picking but doesn't stretch it out too long and fortunately kicks into distorted guitar and up-tempo verses in no time. Fourth jam is "Lovely", which has a heavy Funk influence. It is a different kind of song for Suicidal Tendencies (courtesy of new bassist Trujillo) but needless to say they blow posers like the Electric Boys, Bang Tango, and Extreme out of the water without any wholesale copying of other Funk Metal bands around at the time such as Jane's Addiction or Faith No More. It has humorous lyrics without being silly, more sarcastic than anything else. It is still firmly a heavy metal song, and still recognizably a Suicidal Tendencies song. It totally destroys Nuclear Assault’s bad misstep "Funky Noise" off of Handle With Care from a year earlier…and even has cowbell (insert jokes here). The last song on the A side is semi-title track of sorts, "Give It Revolution." On "Give It Revolution" Suicidal are unabashedly political ("Throughout all time and history/The world's been mauled by tyranny"), with a fervor and lyrical content that border on liberation theology ("We'll bow down to no other one/'Cept the father and His Son.") "Give It Revolution" is another mid-tempo heavy metal song with tons of great solos that absolutely soar courtesy of Rocky George. It is the perfect marriage of heavy metal and sociopolitical lyrics, one which bands on major labels do not usually do, but you know future members of Rage Against the Machine were furiously taking notes (guess what label RATM's major label debut was on?)
Side B is heralded by trumpets and "Get Whacked", with Suicidal delving into another one of their favorite subjects: losing one's shit. It's one of the punkier songs on the album (if you want to call a song with a guitar hook Iron Maiden would be proud of "punky") with the classic combination of hilarity and over the top violence. It has a similar speed metal tempo to "You Can't Bring Me Down" and will leave you disembedding the numerous hooks it leaves in you. Next up "Send Me Your Money", another minor hit for the band. It is true that earlier bands had tackled televangelists (Mucky Pup among them on "P.T.L.") but Suicidal Tendencies do it with more humor, superior songwriting and more intelligent lyrics. The song showcases the bass skills of new guy Robert Trujillo and utilizes a huge bass-driven groove that would be consciously or subconsciously copied by future bands (Fishbone on "Swim", Marilyn Manson on "The Beautiful People"). The theme of violence/rampage continues in the last two songs, "Disco's Out, Murder's In", and "Go N' Breakdown." "Disco…" starts with some nasty whammy bar work before going into a harmonized mid-tempo lead and then go full-on breakneck speed. It is one of the few thrashy tunes on Lights… and easily beats Slayer (and especially the then-nascent Pantera) at their own Thrash game. "Disco…" also has quasi-humorous lyrics, some of which would be unthinkable in the post-PC era of 2014, and seems to be a commentary on the symbiotic relationship between violence and it's media coverage. Which takes us to the final song, "Go N' Breakdown", a mid-tempo jam, which  unknowingly was the capstone on a great era in the existence of Suicidal Tendencies, and a strong one to boot. There is no "My World" or "We're Red Hot" to desecrate the release and ruin it, to keep it from retaining it's overall structural integrity. Lights…Camera…Revolution!  is the sound of a focused band at the pinnacle of their creativity and quality with major label financial support.
Lights…  is the kind of record that existed in the perfect place at the perfect time, and this was a huge factor in the coalescence of all the elements that make it the production that it is. It is near the end of the Thrash era as we know it, pre-Machine Head's Burn My Eyes, Sepultura's Chaos A.D., and Entombed's Wolverine Blues, but before the Punk-inspired grunge explosion that occurred the following year. So it could be whatever it wanted to be without any commercial pressure: Hardcore, Punk, Thrash, heavy metal, Funk Metal, a gateway to Alternative music, spoken word. The material off this would have been just as comfortable on an episode of "Miami Vice" (which the band actually appeared on in 1986) as it would have been in the mosh pit.

Suicidal Tendencies follow-up to Lights… , The Art of Rebellion, came out in 1993, when the music scene was already littered with RATMs, Monster Magnets, Tools, Red Hot Chilli Peppers, and God knows what else. Though not a bad release per se in my opinion, you can almost feel the label pressure to keep up with the more commercially successful acts of the time, and can hear it in the end result. It seemed as if Suicidal were playing the same Alt-Metal as the kids instead of being the leaders they were. That might have been what influenced Suicidal Tendencies to re-record their then-notoriously hard to find self-titled debut (first pressings are collectors items), as well as the infamously defiant commercial suicide (no pun intended) that was Suicidal for Life (which seemed more like a plea for their then-label to drop them than it was a serious release). But that, as they say is a whole 'nother review.