Archives for category: poetry

The Revolution will not be synthesized.
You will not be able to imagine it, and then draw a diagram of it.

The Revolution will be total. not a toy to put into your hip hop song.

The Revolution will not trick people into thinking that it’s real.
It may be doubted,
It may be shouted,
but it will be something you feel.

The Revolution will not be a product,
The Revolution will produce.

It will not be consumed, my brother,
It will do the consumin.

The Revolution will not date itself
with immanently out of date technology.

It will be felt! Not below the tongue,
But Above! Because It’s sung!

The Revolution will not be replaced
because you found a better model,
The Revolution is always the newest model.

It will not come from a box, it will come from human hands.
Human hands that hit, but hands that also touch electronica,
as well as the arms that guide them.

The Revolution may be sampled,
but it will also be recontextualized.

You will be able to remember it.
but you won’t be able to replicate it.

You’ll be able to carefully arrange it,
but you can’t control it.

You can vocode it,
but you can also voice it.

You can automate it,
but it fades with every playing.

The Revolution will have its pitch shifted,
And it shifts the harmonies wherever it exists.
The Revolution is not your bitch.

It is not customizable for your comfort,
Although it is engineered by precise fanatics.

The Revolution can be composed,
but no one can determine the composer.

It will have authority,
but no author.

The Revolution is never an offer.

You can communicate it through words,
but it does not reside entirely within language.

You cannot isolate its algorithms,
but you can accompany its rhythms.

We may find that we have already revolted,
And The Revolution is always insulted.

-Sometime in february of 2010. When I was just starting to think of how to perform my poetry with a live band, and I finally found one. Lilac Inferno. Never really performed this song with em, tho, altho I definitely very intentionally looked at Gil Scott Heron as a vocalstylist very intensely then. Here’s a recording I did of it around march 2010.

The early sounds are made from my voice speaking very closely to a silkscreen, traditionally used for printing purposes, here used as a bow for the vibrating string which my mouth resembles during speech.

Still continue to record and perform it live in new ways. haha, I have an addendum to this poem i always ad lib live. Always start from the line “THE REVOLUTION WILL NOT BE UPLOADED ONTO YOUTUBE” and pretty much the spirit always takes me somewhere from there.

I did perform it live once, memorably, at GODgaveUSbossVEGAS, an arts and music festival I helped organize that did not even break even.

I held an entire room of partygoers at attention with just a microphone and these words, tho.

Since Gil’s passing I still look to him for inspiration for my vocals. May his star ever shine when we close our eyes, teaching us how to live and read instead of sit and sit.

It most recently found its way into my science fiction universe. In the speculative religion forming a bible (which Gospel According To A Robot may or may not end up being included with it), they often perform psalms before speeches or musical performances. It is psalm 48, and it is performed before an e-mail urging the inclusion of The Robotic Word:

-ptr

Home is a place where I can sit.
Home is a place where I can trip and catch myself in darkness,
Home is a place you love to find,
And the unkind will hurt you, but the
Home will not desert you.

When we roam the palace dome,
We always find some other tomes
To enliven all our cell phones, I mean atoms.

Our cell phones are atoms vibrating in this dome.

-Sometime in June 2011, in the afternoon.

Jeremy was talking on the cell phone in the other room, and I recorded this poem to end Lilac Inferno‘s most recent recorded song [with video mashup footage by the author composed of a skateboarding dinosaur morphing into two minutes of kitty porn and atomic bomb testing footage].

It later found its way into the music me and Josh made, as the electrified opening to “I Still Am Who I Am”, recorded alone in a garage but later repurposed with acoustic guitar decorating its outro, the poem introduces the return of the prodigal son.

 

I’ve since performed it at a couple open mic nights, and more memorably at a spoken word parade where I got the chance to perform with my bandmate Josh, but not as bandmates, as a house band inviting a random spoken word guest to the stage.

We both knew what home felt like a little bit better when I performed the poem.

-ptr

Swag needs no name.

 

Swag only needs people to want to hear its name.

 

Swag never speaks its name.

 

Swag isn’t even capable of speaking its own name.

 

Swag must have its name spoken for it.

 

Swag can be anything.

 

Swag is all.

-3:14 AM

A description of Mission Complete!’s album release show.

Handsome athletes mime
“time to believe in music”.
Dancing Blesses Faith.

God is still the Word.
Jesus can be the story.
We are poetry.

Listening to Fela Kuti’s new album, streaming on spottily dontchyaknow, I was first struck by the incredible liberties involved with its publication. The tremendous length of each track, over thirty minutes long of what must be reel tape for each track, could certainly not be imprionted onto records without severing jams, and amputating grooves.

And, listening to the tracks, one thing is fairly certain. These aren’t tracks that let up. Even the ones that get quiet never really pause. Only when the speaking voice of Fela Kuti comes on the mic, does this mob obey its conductor, as they launch into chaos. Here’s a picture of him from this performance.

And I mean mob in a nice way. People really well intentioned, but also permitted a moment of vocal vandalism, such as the shrieking not twenty minutes into the first recording. And so the track continues in an almost embarrassed subdued funk for a couple moments before it regains its confidence and swaggers, full of brass, soon enough.

And then, the track ends. Spotify won’t let me listen to more, and, when looking at this thing, I’m struck by one thing. I wouldn’t want to spend a lot of money on a two disc recording of this, much less the time spent listening to all of it again and again. One more irretrievable relic stored in the archive our digitization allows us of our culture. It may last a while through file sharing programs and diligent collectors. If it’s special enough. Who knows, I may hear a story that makes me want to check it out, after the initial print run has run out…

And so it is with this reflection that ptr posts the haha, Radical debut album on the bandcamp, with a complete listing of credits over there as well. Another impossibly long digital compendium of live(iiiish) recordings too long to fit onto a single compact disc.

We may press a double vinyl of it soon, who knows???

For now, we are relieved and happy to announce its arrival. Here is the audio. Nab the .zip before it becomes a hot, and mp3calcified mediafire fossil, already past its prime.

In other words, download it for free!

If you’re a fan of my haikus, the final track is an extending jam wherein I read seventy eight of them alongside the sweeping ambience of the nat’l parks.

Other contributors provide stellar work, joesnackpack with some delicious production. Sammie Vee with some songwriting on Give it up! that will hopefully blossom more fully on haha, Radical’s second album. Eric Bell (of Nat’l Parks) plays electric guitar on a few tracks, as well as Josh Glenn and Peter Hensel’s core improv duo leading the way through self-decreed standard after standard.

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One that came to me while running:

If You Act A Fool,
The World Will Find For You
What You Do Not Rule.

A Reflection on my future.

Tried Clear Ritual
Following Radical Life.
Sang. Slowly, livid.

This logical hmmmmmm.
My Ravenous Giant Must
Fall Into Fortune.

Never Fathom Depth
Unless You Like Looking Up.
I Prefer Walking.