BEAR HAND BOXING

They almost got it.

MORE MAUS

Who is phone?

crazy dream machine week, embarked on a 2ci trip with b. and had mystic visions midst the outremont hasids. intentional surrender to insanity producing interesting and hysterical results set to the soothing (?) sounds of the one flew over the cuckoo's nest soundtrack.

see above blake-ian vision for an approximation.

i have decided that a large problem with summer is that it leaves me with far too much time to ponder the end of days, and that just doesn't do anybody any good.

back to the homeland tomorrow for a maritimey august.

summer reading list of a lazy student who will not be able to read for fun in less than a month:

-finish dr. zhivago by boris pasternak

-finish the master and the margarita by mikhail bulgakov

-under the volcano by malcolm lowry

-mythology by edith hamilton

-tropic of capricorn by henry miller

Nobody wants to get stuck stoned next to thaaaat guy.

Maus is Missing

I'm spending my sunday morning with a summer sinus infection reading some dense but delightful pop theory by the professor cum pop artist John Maus, he is an admirer of R. Stevie Moore and contemporary of Ariel Pink. He has a PHd and is a lecturer at a university in Hawaii and has some pretty immense observations about pop music and it's evolution. I would do a horrible job trying to summarize so here is a link instead:

http://www.moorestevie.com/press/maus.html

And a snippet from thoughts on R. Stevie:

"In the pop song 'Hobbies Galore,' R. Stevie uses the particulars of his musical situational state to exceed that state, to concentrate neither surplus value nor social meaning, but an excess of all particularity as regards the way of listening called music. The similarity of R. Stevie and Ariel, is above all, that they exceed the standardization of pop through excessive affirmation of this particular in all of its own particulars: standardization of form, standardized emotional intention, standardization of genre, and so on."

"The conclusion of this brief and unthinking text is that music's new master - commercial capitalism - though the cruelest master music has ever known (think how unlike other musical truths the musical truth of this situational state is), is unable to prescribe entirely what we listen to in this way called music. Both discrete subjects of the singular truth examined show thinking what remains in excess of this prescription. Moreover, they show thinking that this excess is subjectively wrested through concentrating the contingent particulars of standardization, materialization, and multiplication. Finally, they show thinking that these particulars, though often dismissed, offer a way of bringing-forth the immediacy of this way of listening called music universally."