Steven James Pratt
Category: DJ Fly Agaric 23
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CI for COPENHAGEN INTERPRETATION 2009: What Poetry?
http://player.soundcloud.com/player.swf?url=http%3A%2F%2Fsoundcloud.com%2Fflyagaric23%2Fshannanigums-wave-book-iii-chapter-xii& Shannanigums Wave Book III Chapter XII by flyagaric23
“Us clams must stick apart” –Feudal Baron Periwinkle III.
Aphrodite rose from sea foam in film. Merry Mermaid and love goddess surfinn her scallop chariot through twisted arms of godsoilmen and sludge.
She has risen to meet the supermajors to balance scales and dance to the finnance seers circe song.
Gulf scoop. Venus Arise! Awake. Hail Eris! Drink snail wine and toast to King scallop, loops.
Sail up Botticelli’s shell birth canal, known by cockle, hat and staff, Cruz’ past oily Slick Cheney news. We roe under the sign, past energy task force positions.
The Galloping Scallop clad man of greek myth. The Knights bejewelled in clam lips and kisses. Rich blue Oil spill or mother of pearl? Like blended parrots and dead plankton, mixed emulsions. Beautiful Miss. Oil Spill?
Crude awakening to the spill-age. A Collosal squid princess riding old Jakobsschelp to help a Hutch load of old scallops rise out the Seafloor Blues. Deep sea things speak! Lo! Scallops of the ocean down by the great rising Chiefs.
Take Big Periwinkle into your earshell. Smell the sign, touch the symbol, has it got ridges? Dreams cast to sea to see in a Venus shell in a mother of pearl breast. Dead Plankton in the paint painted on Saints of the swamp.
And the city sewers flow. Heed the clam of commerce and the cockle-shock shimmy. A shell of transfusion, what sea-shell sign symbol confusion.
Emerging on a horse covered in Scallops? Yes, Prince Periwinkle gallops-up stream like Salmon. Skullops for one shelling a dollop. Sea wave-wind Mussels flex into fossils. Oh, more yet, invisible smell of oilamp from the limpet.
The Penis of Mr. Big Periwinkle is swelling, a telling sign of the times. Lets Oil the Oystery of Oil, and stir with a staff, lets foil Big sharks, get shocked, struck coil! Row roe with the Tide Swell batter and salt.
Swim with the titanic Sementic shift, up out the shell, again, to tell a snail tale of the planetary shaft.
Son’s of Thunder Juice, Snel, quick up to defend the word. A sea slug with untold feet, runs with you. Hoily Tools of the Big Petrol scoop and scope scheme, wallops the marine scene with unclean oil sheen. Another spellage.
Ocean deep n’ blue, packed full of shell-rooms, true teachers of petrochem generation X. Drill here. Rise up like foam, Alexthunder Oil the Shah Cockle and the unseen shellhand scoop, arise fortuna.
Waxy Parrot Snot in the sea banks, how to dress up a death spill? Casting Shells – The wavy lines trace swellmighty calm. His Loch’ Holiness the Buddhaclam Caliph of Pearl of the Santiago Shell mound gate tell us, what fate?
Great clam emperor of the Mollusca lineage, Big Up your shelf. By nature the sign, 500 Million years of geometry spun, sings in holy brine water, the Duke Periwinkle Clam tissue of ivory Sheen?
Look down the well. Oily DEA and ivory salt newspaper scalps litter our vessel, truth and beauty from underwater vents, meanwhile oilmen pollute the ocean-Green with sculpted Pipe lines, crime waves of DEA projects, No Oildea how sticky their handshells.
To the Great Old One’s, please hear us and help a sign-sailor resist a supermajor temptress, blackmailing a redesign.
Each cell on the Shell glitters and does not glisten. Clamco on our sex organs. Oil spill, pipe-line, spoil, Usury, coercion, interference with the flow.
Oyster Gods of ancient oceans sculpt the wave and weave pearls for serpents teeth to sew. WWII elixir prohibition, in the name of thy snakeoil potions, Rise, Oh.
Sea-meat wonders with one hundred eyes that dwell upon Old heraldic shields, Rise up like bubbles and show us your shape. If only Molluscs could grow wings?
Dutch English American statistics, more scallops? Roam the ocean wide with the Sigil of Galloping shells tells a whale of a trial of a clam, with snapping hinge teeth. Big Blood and loot (bleep) swinging from the Scallops pole, I and Shelly, and our Seal: Koninklijk.
A Toast to Scallops and the food of Godzilla, and the marvel of Clam propulsion.
Venus come surfing on a scallop, leading with a shell in hat and staff in hand. Scholar. Mussel Swimming down Saint James’s glory-gate to stealth Oil Cow and coo. Scoop it. And the church Redlips TTOTTAL Informollusc. Sculp. Crude awakening.
Cockoily and Crude Millions scalloped out of the earth’s. Intimidated pilgrims raise a Church shoal. To the Botticelli Shell-mex, mix, to the – Supermajor – noGods’ and the shall he, Shall he not trotter. Heart of calcite, home of crystal. Toil to swim with the ASA Esso sponsors. Pick a Shell and drink James Juice.
The sacred periwinkle proportions, now sea gold. Periwinkle Cockle and aragonite Shillyshellying, on land we’re all out of gas? Gaia Scalp flaking, dry rot and sun burn, Crashing oil and Blood in similar waves, Half-mollusc, half man with a vulva Cuthulu cult riding a Periwinkle to shore, to soil on past British Patrolingmen.
Deep Rejoice – Skol – of the sea leagues 93’000 species of Mollusc, calcium from sea, Saint James Juice “No thankyou.” Oh, resurrecting Periwinkle is forbidden? Greenwash be damned, HOLY Scollop of truth Swim on your way!
Oh, Mollusc gas around pilgrims Hands. Scooping the word. Praise the Count of cockles who calculates the calcium content. Re-shore em’ that Oystery has Pearls. Barons to protect the crust. Don’t drill, hear! The silver pink flesh remaining of ocean Sheild.
What pearls lie in the sign. Schaaldrake Unreeled from the Well, winds blowing above the abyss of humanity.
A clamber of underwater James shimmer “What the devil’s covering you, old directors?” The Hat clamp too. Holy floor, must be peak oil time! Shall we use our gills to push? Praise oceans Brand waves. The fisherman on fire, Oil brigade, fire brigade.
What Sustenance? Entangled oil pipline artery of earth rot? Well well well, Oil be damned! eyel. The stolen dead plankton. The dead seamen-oil-blood transfusion.
The Tectonic shifts and shafts. Swallow the shilly-shally sea and go a’ rumaging. A mussel bound wisdom tongue in a Dutch pit. Venus in shell, that feminine Scallop.
Beware the starfish and oystercatchers and Condi Rice. Our boat enters the earshells of Leviathon. Seers are feeding, so meditate on bivalvia underground and grow new ears. Total germs. Sea worms fight back.
Please dive off the Euro board and Rejoice for James Juice. Hoily Houses Haunt Oystery sauce. The currents of Oysery in the Musselmen’s. How to Oil the machine and then stir, sir?
Scallop filtration of nature Mouth pit. Hermaphrodite Samuel of the black-gold waters. Global eyes of the oceanic gleam where Ibskal speak of sea diamonds, pearls and disturb the Calm mud.
Look Deep, look well , lick the James Juice-oil, drink the poison and ride the snake to the pit of Saint DEA, to planet Exo-Clamboil. Elders send word of hope, inducing Amanita Mollusca.
Sometides wash nutrients up Ripples of the great allrudy wish-ways prepear’d with proportions of Baron periwinkles dimples. Chevrollop, clamswallop, wham. Big Shh’ galaxy, in silence. And inside the noble clam chamber Mr. Mussel finds shelter from transfusions and Cockledoom on a dinner plate.
Oh shil, you supermajor logo shystirs. Rumble of waves around scalloped edge – where Venus teleports – to visit ecstatic ten-thousand. And Brand new standards, drink the ocean ink of clam soup. Ingest the Hoily Ocean Extracts from the me-a-ning Well, it’s all for the best.
Wade through the bauxite, don’t step on our eggshares show foresight. Juice the wellwell markets, be merry, speak into these eggshawls. Schelp, I need some clammy mammy? Muscle and sperm of capitol, testoss and hydrocarbons, Thankyou, the pearls really shine. 500 Million years of Scallop evolution sculpted from chalk with tyme.
Real Crotch Oil spread and royal Roe Smoothie. The synchro-swimming around the OVA, mixing a schaal alliance. Pink into the black current. Shellfish swim for ecosystem and it’s edges.
The taste and Zap, filtering compost on sea-bed, the underwater awakening, like Fungus, the Clam infiltrates the swill. Heaven and Hell, the birth of Lucifer von Periwinkle and his Kingdom Oilmen! Lo, the chatter and Swell, the Venus and the Vulva. Marian’s Well. Like a Mermaid’s, always moist.
Master of devices and of painted Green weeds. Grow. A Pilgrim Artefact slyjacked. Marian! Murmur and maid, with comb and mirror, homeless, Comb exchanged for a clam-pick to pluck Lyre songs. Merry tinkles of shells and deep-blues for heads.
Oh yeah, to schell the proof to buy the truth. Sea Red and sigil read. Michelle, and her pink mantle. Swimming with our vows to explore the edges of the Sun. Elixir of Baron Periwinkle makes a tasty tipple. A tale maybe a virus. Vile us! With a treacherous hijacked Scallop – snapping – at your toe, out to out brand Oil.
Way out. Respect the Hoily mollusc of Saint James. These Claims of holy clams clamp down on Baron Periwinkle’s clump, so Dive down and pry benearth. The Venus Mermaiden has risen from the sea to show you her she-sails.
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AS IF TRUE. BY fly agaric 23. Published in MAGIC MUSHROOMS: FROM TOADSLIME TO ECSTASY.
My first published short story….linked in google books – Thanks again to the great Paul Krassner who decided to include my email reply – composed – piece, for his magical book of collected psychedelic tales and feedback from the psy-landscapes.
http://books.google.nl/books?id=iGRoEP330lwC&lpg=PP1&pg=PA51&output=embed
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FF is for FLICKR FLY:
http://www.flickr.com/apps/slideshow/show.swf?v=71649
“flip yourself head over heels, as if swinging over a waist-high horizontal bar in front of you. Now your heart is on the same side as the mirror-person’s heart-but your feet and head are in the wrong places, and your stomach, although at approximately the right height, is upsidedown. So it seems a mirror can be perceived as reversing up and down, provided you’re willing to map yourself onto a creature whose feet are above its head. It all depends on the ways that you are willing to slip yourself onto another entity. — Douglas Hofstader. The Mind’s I: Fantasies and Reflections on Self and Soul (co-edited with Daniel Dennett)”“If a nonspinning inertial observer looks along his axis of symmetry, he sees his coaxial nonspinning inertial peers apparently nonspinning with respect to himself, as we would expect. – Godel_metric
“QIUP – Quantum Inseparability Principle, named by Nick Herbert: the impossibility of existentially separating observer and observed. –- Dr. Robert Anton Wilson Quantum Psychology. New Falcon Press. Page. 107.
“I also updated the piece to depict a modern market area, a supermarket or shopping mall, filled with glass panels (shamelessly achieved by the use of a paper edge). Instead of the three views culminating in exit points to organic backgrounds or nature, I chose to make the whole space an interior, with backgrounds of a shop, car park and a public sliding-door entrance. The figures are also modernised; cash machine, struggling pensioners, drunks, maintenance orderly and shoppers. — http://www.schudio.co.uk/blog/2009/m-c-escher-tribute-2-of-3
“as if everything were not in displacement, detour, transference, metaphor everything is in the love potion of seduction… —Jean Baudrillard writes in Dust Breeding, 2001.
“We used to think that physics described the Universe. Now we know that physics only describes what we can say about the Universe. — Niels Bohr. Quoted from “Quantum Psychology. RAW.”
“The matrix is the kind of film about the matrix that the Matrix could have produced — Jean Baudrillard.
“Consciousness is not only a way out of the evolutionary impasse, says Hilbrandt, but also an escape from the snares of Godelization, for by means of paralogistic contradictions this solution has sidestepped the contradictions to which every system that is perfect with respect to logic is subject. So, then, the universum of the personoids is fully rational, but they are not fully rational inhabitants of it. — “Non Serviam” from A Perfect Vacuum: Perfect Reviews of Nonexistent Books by Stanislaw Lem. Copyright 1971 by Stanislaw Lem; English translation copyright 1979, 1978 by Stanislaw Lem, Reprinted by permission of Harcourt Brace Jovanovich, Inc.”
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F For Fiffty One DEGREES LAUNCH DJ SET BY FLY AGARIC
22ND APRIL 2009. WILD BUILDING. DIGBETH. BIRMINGHAM UK. 8.00 PM.
DJ FLY AGARIC 23.GRAFFITI BLUES – BLUE MITCHELL
IF ITS GOOD TO YOU – EDDIE BO.
TAKE IT ALL OFF – BO DIDDLEY
SILLY SAVAGE – GOLDEN TOADSTOOLS
SOUL POWER – JAMES BROWN
BUMPIN’ BUS STOP – THUNDER AND LIGHTNING.
LOOK-KA PY PY – THE INVADERS
HEY BO – EDDIE BO
BO DIDDLEY-ITIS – BO DIDDLEY
THERE IT IS – JAMES BROWN
STREET PARADE – EARL KING
BO DIDDLEY – ART NEVILLE
JUST KISSED MY BABY – THE METERS.
LIGHT MY FIRE – SHIRLEY BASSEY
LIGHT MY FIRE – MASSIVE ATTACK.
BACK HOME – YUSEF LATEEF
PEOPLE SAY – THE METERS.
LONDON – DAVID AXELROD
SHOO FLY MARCHES ON – DR. JOHN
FEAKS FOR THE FESTIVAL – RASHEED ROLAND KIRK
THERE WAS A TIME – JAMES BROWN
DIRTY HARRY – LALO SCHIFRIN
FATTENING FROGS FOR SNAKES – SONNY BOY WILLIAMSON.
SOME MOTHERS SON – SANDRA PHILIPS.
LOVER AND A FRIEND – EDDIE BO & INEZ CHEATHAM
DOIN’ THE POPCORN – KIM MELVIN
I’M A GREEDY MAN – JAMES BROWN
MIRROR – CHARLIE MARIANO.
AFRICA – THE METERS.
BRING DOWN THE BIRDS – HERBIE HANCOCK
LICKING STICK – JAMES BROWN
LOOK AT GRANDMA – BO DIDDLEY
CRISS-CROSS – THEOLONIOUS SPHERE MONK
TAKE THE ‘A’ TRAIN – DUKE ELLINGTON
COSMIC SEA – MYSTIC MOODS
NIGHT TRAIN – JAMES BROWN
BULLIT – LALO SCHIFRIN
HEY JOYCE – LOU COUTNEY
AT THE SOUL IN – COUNT YATES AND THE RHYTHM CRUSADERS.
MAKE IT FUNKY – JAMES BROWN
QUALIFIED – DR. JOHN
GROOVY BABY – KIM TAMANGA
CHICKEN STRUT – THE METERS
HOWLING FOR JUDY – JEREMY STEIG
ARE YOU TOGETHER FOR THE NEW DAY – THE LOVE EXPERIENCE.
I’VE HAD IT HARD – BO DIDDLEY
I NEED HELP – JAMES BROWN
WHO STOLE MY COOKIE – THE PHILIPS BROTHERS.
TAKE CARE OF YOUR OWN BUSINESS – DAVE HAMILTON.
SWEET POTATO GRAVY – MAURICE SIMON AND THE PIE MEN.
WALK TALL – CANNONBALL ADDERLEY
PUBLIC ENEMY NUMBER 1 – JAMES BROWN
SISSY WALK – BILLY BALL AND THE UPSETTERS
CISSY POPCORN – PRESTON LOVE.
CISSY STRUT – TRINADAD TRIPOLI STREET BAND
ZA ZU – WALLY COX AND THE NATE BRANCH
FOUR CORNERS – LEE DORSEY
THE RUBBER BAND – EDDIE BO AND THE SOULFINDERS
SPONTANEOUS SIMPLICITY – SUN RA
JAZZ CATS – MADLIB
RHYTHM-A-NING – THEOLONIOUS SPHERE MONK
DISTANT STARS – THE HELIOCENTRICS
LIFE – DR. JOHNThanks to CHU, and to Laura, Pete and Olie and the Jibbering krewe. Each of the songs were played beginning to ending by myself in an improvised order.
CHU. 51 DEGREES. RETROSPECTIVE AND AUDIO RESPONSIVE.A congress of audio components. Captured on canvas, aluminium, wood, steel. Projected by aerosol, ink, and light. A techni-coloured array within mediums, within mediums. And the price is just right. Reverse engineered computer graphics, brought back to the canvas again, audio components running through the work like a postman/sound engineer with sore feet.Symbols and symbol systems reflect off of canvas in a semantical pin-ball gallery. The meaning from each view point in the room changes as the symbol systems encroach upon the viewers perceptions. Smoking fine, yeah your right. Hanging portals and pictures you can fly through in a spaceship, a world of audio components, electronic, mechanical and manual. Communicating vessels from another world, where solid state entities inhabit audio components and where rogue tribes of interplanetary beings hunt down the beats and grooves to make the Universe dance.Every wire, plug, jack, socket, stylus, speaker and tape entity is grounded in earth – the foundation, the beat and the groove. Music. Music, in some sense is what connects all the pieces on show by CHU. Another way of seeing the work all-together in the gallery is as sound amplification and manipulation – a reaching out by a visual artist over to the sound world of music. A lead, jack, socket, wire, record..to plug into, turn on and power up. In the back of your mind you can now plug in the correct pattern to gladen’ the heart. A stereo guide to word sound image power. Turn on your mind and take the tour.THE THREE CHU PIECES THAT WERE MISSING!1. HOLE IN THE WALL2. BORN IN WALSALL3. CASTLE GIFT SHOPThese three pieces of gigantic size are great testament to painting OUTDOORS, and are a reminder of the 100’s of OUTDOOR works, 1000’s by CHU that are way to large to bring into a gallery, and they are on a wall anyhow, for christs sakes. For anyone who has stumbled upon this writing about CHU’s exhibition: 51 DEGREES – keep kicking yourself as a reminder that he has also painted the world’s largest single-handed aerosol mural! But he would be quick to tell you that world records don’t mean half as much as soul records to im’, the audio components and the will to dance, groove and make beats prevails. I will extend my sentiment here to all the Graffiti writers worldwide who are bringing language up to speed using new tools and keeping the four elements interlocking between the streets and the cosmos. Yes boss.THE RISE OF THE AUDIO COMPONENTS.After the turmoil of the world banking palava, and the downword spiral of language into Ponzi schemes and overspending the planetary forces have reorganzized and deployed themselves to help humanity rise out of the slump and into the long boom, the perpetual crash of music. BACHWORDS. When audio equipment can grow wires and jacks like a living plant, or when electrical power can be hijacked, along with the infosphere – by biological entities – they have a high probability of taking on the form of communication devices, and symbol systems (hardware and software.) Hardwired and crosswired language bubbling beneath and without the Blackcountry’s equivalent of Japanese Manga. NO, not the rise of the machines, the congress of the audio processes. The interplay between audio components pulled down and out onto canvas by CHU, with the space surrounding them. The forced MUSIC in the head, brought about by the visual cunning of the audio engineered world. AUDIO RESPONSIVE. Remember. The pieces lead into each other.Maybe the tessellated patterning exhibited on the 3 Pieces – titled MECHANICAL, ELECTRICAL, MANUAL – are indicative of the hologramic style of CHU. Most things i have put down here are nothing new to CHU, he has been sketching this world for more than 12 years. But now we have a manifest environment that pitches the work together, projecting chronological, geographical and aesthetic relationships between the artist and his different mediums of expression. In the gallery space you can feel the holographic forces at work, and can slip on some 3D shades to view his tricky third attempt at a self portrait for the literal graphic 3D experience. Yet on another level i see the broad theory of CHU and his worlds morphing and blending with whatever comes his way, to mean that at the gallery space you can see the development of the pieces and how they fit together. The fitting together of the works seems to be yet another level of tessellation on behalf of CHU, and this method is directly exhibited in the two M.C Escher tribute canvases. And then we come to the cube. And tessellated perception. Immersive environments.The cube remains beyond description. And the most difficult thing to capture with words. I might start by saying it is a room, built with 4 walls, a ceiling and a floor, but after decorating and chuscaping these numbers flux-chuate depending upon where you are looking from. The form of the cube seems to be related to the average height of human sight, so that distortions and impossible objects can formulate in the spaces, using that data as a starting point. The content of the cube or CHUBE is further scenarios from the rise of the audio components, this time hooking into and out of the giant alphabetical words: ITS NOT BIG AND ITS NOT CLEVER. Icons of electronic music culture, remix culture and audio engineering anarchy, turntables, tape-loops and speakers on the loose, chased by cables through cityscapes, chased by phantom power leads and microphone jacks. The electric word, electrified, like the mechanical bride – the words rise and the machines too, in a great torrent of seeing. In the cube i see no nouns, i only see verbs.Meanwhile projectors spit light shows and pixel reproductions of moving images, more invaders of the real, chu’s animations and graphics are a book in themselves, from the Walsall Illuminations installations to the VJ shows and animated gifs and computer games themselves, yes. Just take everything i wrote and put more verbs in, the moving images re-circulate the meanings quicker like a semantical windmill, spitting out graphical beings, solid state entities and more. And more…The exhibition also has the largest ever collection of YOUR MUM RANG memorabilia, a stunning sight in itself, although not immediately making the global extent of the sticker campaign visible in the great OUTDOORS. CHU has been dropping YOUR MUM RANG for 8 years as far as i know, the first sight of which i saw in San Francisco 2002. Visit CHU’s flickr site for the ongoing words to your MUM. Or think about creating your own campaign, transform your environment. Just on it.CHU seems to me to be of a new breed of aerosol artists, a pioneer of the field and a master of his class he continues to push the edges off and out, keeping the raw experimental edge with the precise tried and tested methods of his craft sharp. The cube was a great effort to arrange, construct, and prepare for CHU, but he laboured on with the project and deployed his CHUMOMETERS to startling effect. TOTAL IMMERSION!Steve ‘Fly Agaric 23’ Pratt: Acrillic -
FS is for FLY-STYLE: Free writing in 09
It feels way too long since i just sang. After all, fly should be droppin’ it, and them, like 10 ton chickens out of a hercules, or a few cows off a bridge. Introductions are over, honeymoon is up. Lights on, sound check and all the practice comes back, payback, playback for recording activity. GODISTURBER? what is it, two people compressed into a word? Godisturber, or durber…do you think she heard you? disturbance of the wave, dance of the dust mite, flows might get dusted. No turning back just around, on rotation, a duty, to turn, to change the dials, and cherish hilaritas and fun, tracing smiles for miles a day.
The face of type under cosmetic review by the doctor, boots polished with ink, tread milling the pressure onto the street – imprints – impressions left, but what is right to write tonight, what is left to sift and lift? escalator and calculator combined to take a square root back to minus one. Disturbance of writing, what is it. Patterm, gramar and speech like jagged rocks in the tongues road. Surprises wrapped around every lampost, posted light and posted time awaiting your every stirring. Steering sentences into places you hope will alight faces, grace the next sentence and free the meaning, with each word and dust mite movement, with each undulation and flow, comes and goes me. Me the other disturber, aiming for anchorage and honest translation of visions, a package for chu, a package of elongated verbage. Age retraced in mind and beauty, retraced thought replaced with a new sporting chance. New free sentences to enhance the dance of particle wave waltz and end. To stop and go on amber and direct traffic into terrific. Speed out of the middle lane and cruise above the assfault altogether. Pulling clouds down and putting new sky up via skype. Sky up and blue in the air, up from the aluminium roads and factory canavas floor into the skylights, the last remaining green belt wrapped around Britain’s naked body. A horse-race of letters, a jockey of jabberwockey, keys two, the stable. We are for balance. Equation and mathematical system. We are measuring courses for Ostriches, by the feather weight. Heart of solid steel, no, of gold.
http://player.soundcloud.com/player.swf?url=http%3A%2F%2Fsoundcloud.com%2Fflyagaric23%2Fshannanigums-wave-book-iii& Shannanigums Wave Book III Chapter 11 Page 67. by flyagaric23
A heart of rock-stone? a heart full of blood and pumps, a heart of pulses and waltzes with riddim. Heart and head laid down snug. Head and heart beating, bleeding words that got sentenced. Alphabetty shackled the soul aboard to the jetty, waves mirrored my close shave with sea foam. Phone home and away i went, travelling the telegraph paths, to find sense in this monologue leading to the bog. Cogs and wheels within’ circles, bones of past people’s particulars appear as lentickle-your-ears through lenses of grit. No moaning or more angry man’s madness in word, the way to an angry mad world, the new colour and contour leads the wire forrest freakeys out to new worlds, inhabiting spaces and places that hasty abrupt neophobes fail to adapt to. Your way and paths and roads and noodle highways are the ways, must write them out, write them way out, off -if possible. Write them off and turn them on, drop them out and dial her up, boil a cup of hearts broth, add dust mite and moth to make mothers brew, a glossing tossed in a pan of pun with butter. Splurge and splatter letter after letter after letter and chase the picture, the landscape and the actions, skip the nouns and hijack the verbs.
Big up the verbs of all walks and ways about them, the turning ones of no fixed address, nomadic tribes folk of letters, the moving semiotic train, the moving bus and car, rust, tracks, carriage to carry out the trip trail, migrating letters and running words, dripping context and wind blown full stops. Null stops going forward to reverse positions and exercise the transition from high view twisting and word rollings out, the build up of pastry and pantry smells, the glue and binding molecules of doe, ray, me, so far the tale has baked itself into phrases melted down through the ages, gloopy goos of the great old ones returning, returning the flavour. The life and death march backward, out of ages into history factory production line, history formed and stamped, shaped and packaged, distributed by time and space, clive and tracy, graggy and laced, spaz and rave, you see the surprise on my face.
As i lean down to tie my lace i get my finger looped in the ribbon of shoe, my tongue starts talking and before you know it i am being run out my socks, run around the wreakin’ like an etheopian long distancer. My tongue got a hold of my soul and laced up the tale of the toe. So now, a few minutes of passed and i feel gassed amidst the mist of literal twist, mint rust and apple pudding. Sweet snowflake, and pattern to distinguish individual spelling. Water language dropping, back to flows, and more of those. Staple the friendly papyrus to one-another and build book-witch, belonging to Dante and the Witches Sabbath. Blind boy Jimmy Johnson could see that back flows and under-currents swirl the girl and boy like a toy boat in a bath with a fat man. Big waves and particle fizz. Foam and lappings.
Trappings of the pre-fix, the very and the more, good, bad and rhetoric. Veins upon the trees shirt strike me down dead in the park. I confess nothing. Disturbance and journey to the centre, to keep moving and styling the phone. Phonetic E.T’s going home. But what is to come after the transtime event? or before the end of history? Avoid the void and bless the woid, and balance yourself, on the edge, comfortable and with a smile like Harold Lloyd. What black and white picture show, just alphabet whatcha show, i ask myself whatcha’ showing, a comma, a full sharp. Flat space and spiral earth. Jerky meat box boys in a cupbaord with a monkey must move the mustard seeds from the ape political party chair, sitting on seeds can result in bum tree and pinapple sap head conditions i should not write of in an off handed manner like so. Like so what, i write off the cuff, and on the bluff side of the loon. No delete delete.
Moving feet are dancing again, dancing barefoot in the mud to strike the MOOD for it to trickle rain. A wetness of image dryed up, wrinkled old alphabetty. Formation dispanded by rubbers and ink-delete pens of mass destruction. Not in more than 12 months have i pumped up my staright backtype to attempt a trapeze poem of sleeze on the fly. How high the moon, how low the vault? Light and sound pulses chatter on top of the surface of any lake you like, waves waves and waves again, never folding waves, always fighting the waves and partying with particles, making light of it all. Shed light on it and hope more of – it all – comes to mind. Kisstory. Misty eared. No rap, but feedbacks. Rap and music. Word-code and air farts seem words apart. Apples turning over adams applecart on linneaus straat. Identifiction and the visscitudes and multiplexy glass looking class-room. Freedom to roam without sentence law. Rhyme and sense for added spice grinders. No fear of the mis-readings of free bleeding of sense data. From a key-build world of distrubance, dance and good solid meal lies, a good soft meal, solid? I sribble for a bad soft meal, a flabby saft salted peanut walk in the park.
An orchestral doobie in the dark. No excuse for the digression, my passion awaits trial, selector be my witness, the ground has swollen up like a bumble bee banquet on the balls. Relief from the angles, the ground corners and shaved sides of whats SQUARE. No squares aloud. Still scratching to try and match the hue hatcher of legend untold. In the days of wildfires, child-locks and adult safety checking accounts the accountable are unable to numerically factor the figures in line with the diggers who place daggers in the heart and cripple the face muscles with the squints and turn us into glimpses Mick Jagger. Like a saucepun i can’t handle it. Spilling mistakes my steaks. Thrilling the gates open with fling-a-ling songs and a scavengers desire for a trash palace of the linguage centres, behind the middle grounds of normalford manner, more junk talk, and with a squark and a gobble, gutteral punk, literal junk talk of coca cola and antagonisms, jimpsun weed and spleen reconstructive drama.
Clean slate and dirty jokes chopped like carrots on marble. Table top to bottom drawer there, i saw a paragraph swinging out the margins of blank. A paragraph dressed in camal-flange and chlorinated. Red betwenen the lights, blue between the sheets and green between the teeth. And the doors are open, i was hoping this would come over last summer or before that, with the wine and rose bud days but no. Never till now, till now, the paragraph comes leaping out from beyond the RULE. Drawing the lines and boundaries of space to fill with free fuzz and buzz, flapping and side-strokes, small wriggle movements and darts to all directions, quarkes and get set. Rumble of trumpet cases in the trunk, funk band on the road, setting off, the words setting sail and finding and window of wind-go.
Faster sharps and flats recursive recorso distrubance. Royal disturbance and slippery foot turns on the oil perturbances scattered in these skits and bits of rhyme glue. A large sprawling array of how i say it. Nothing in particular just stretching our vernacular wires and antenna out to reach Dracula and Cinema veritae’ The real died yonks ago, who invented the real? So the verb plays out up in the backside of the groove the verb echos the future spaces and past places of outer-crash wave, bounce. To polish the stones they abolish and throw them like snowmen and their balls through walls of debt brick and steel, through air glass shafts of crippled overtones and harmonic shake ups.
To shake the sky into order and put the starts on the musical stave. Unyour wobbling pivot to measure the class of word-sound honour and the family of whynotwhats and whofortonowwhens – the information that binds the jumble of crumbled noun. Music to unite the crowning glory of story and tale to leave and bright silken routes to follow, pick up, and thread into the inklish boots, laced footwear taken me hostage once agin, on a plane to ubuntu, the words pulling from just aroud a blind corner, the sound of the sentence directs the destiny, but to tackle the rhyme with fix-it substances, and sew up the pristine package for friends and etyms, taking control of roll and reuniting it with rock in a solid foundation. My flow has go on it, goo on blow the nose of knowledge out your assets. Finger mouse creeping under the cat glove in the kitchen – seems to be pushing the limits of sensible writing and shows the down side to freedom of thought and speech, a child’s TV show and a Ikea oven glove fused.
Like a spark plug in the mouth, the lights are tangy tonight. Crevices and dried up entrances to places only a spider could have known have fell into my scripture, visitors from next door, visitors from across the way, the river side has turned into the water-cider in a drunken tantrum of descriptive lenses. From one side the bath looks opel, from the other coral. The mantra of fish might make for a useful wish in a whales bellyfull of tele-tummy touch table tops. Cable cuts and splices, PING. Crossed wires and fancy foundations of frankly – far and away – flipped fakery. All word comes to this and that, eventually the fuel fails to follow the road and the journey comes to a hault, not mine or yours or anybosy elses but the felt tip feels full and bloated, the felt tip of my finger on this bastard keys, wishing they were LP’s. Letting the wind-up speak. Letting the rumble of word speak and spoke the wheels within gyres within disks. Turn.
http://player.soundcloud.com/player.swf?url=http%3A%2F%2Fsoundcloud.com%2Fflyagaric23%2Fshannanigums-wave-book-iii-chapter-xii& Shannanigums Wave Book III Chapter XII by flyagaric23
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51 DEGREES. AUDIO RESPNSIVE AND RETROSPECTIVE.
CHU ROLLS INTO BIRMINGHAM APRIL 23RD.
New bodies of work on canvas and paper on display in Digbeth, near Birmingham City Centre on Saint George’s day 2009, Thursday April 24th.
Here’s an extract from the press release:
Aerosol cans become unstable at 51 degrees, pyramids are built at 51 degrees, secondary rainbows are only visible at 51 degrees, daisies open up to the sun at 51 degrees, and the northern hemisphere begins above the latitude of 51 degrees*. If the graffiti tradition of adopting a number after your tag (similar to Taki 183, from 183rd Street, NYC) then the artist Chu’s number is definitely FIFTY ONE.
Exploring (literally) new perspectives and embracing computer-aided technologies, Chu’s work has continued to push back the boundaries of graffiti since he first began experimenting with aerosol paint & home computers in the late 1980’s describing his creations as gently reminding us of the everyday conflict between digital and analogue devices.
This new collection charts a journey in the UK from the town of Walsall to the city of Birmingham, along the A34 road, the flagship route for bus number 51. 12 new paintings and simultaneous, limited edition, screen print releases will be shown alongside a warehouse space containing an installation created specifically for this long awaited comeback show.
I’ll be displaying all of the studio work I’ve created over the last 12 months, along with a few new vibes aswell. I’ve been working a lot more with tricks-of-the-eye, illusion and site-specific works, aswell as canvases and designs for print.
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F is for FLYBIRDMONK:. A 12′ DISK SELECTION
2009.
Buzzy – Charlie Parker. Miles Davis. Bud Powell. Tommy Potter. Max Roach. NYC May 1947. (Memorial vol. 3)
Rhythm-a-ning – Theolonious Monk. Charlie Rouse. Frank Dunlop. John Ore. (Criss Cross” – Monk
Donna Lee – Charlie Parker. Miles Davis, Bud Powell, Tommy Potter, Max Roach. 1947. (GRANDI JAZZ)
Bemsha Swing. – Monk. Charlie Rouse, Larry Gales, Ben Riley (Live. November.1964: Greatest HiTs)
Cheryl – Bird. Bird. Miles Davis, Bud Powell, Tommy Potter, Max Roach. 1947. (Grandi Jazz)
Criss-cross – Monk. Charlie Rouse. Frank Dunlop. John Ore. (Criss-cross. CBS.)
The Opener – Lester Young Jazz Orchestra. Charlie Parker (Alt sax) Live. September 1949. (Anatomy of improvisation. World Record Club LTD.)
We see – Monk. Charlie Rouse, Milt Jackson, Art Blakey. (Straight No Chaser)
Little Willie Leaps – Charlie Parker. Miles Davis. John Lewis. Nelson Boyd. Max Roach. NYC August 1947. (CPM Vol.3)
Well You Needn’t – Monk. Charlie Rouse, Larry Gales, Ben Riley. Feb 27 1965. Live: Brandeis University.(Greatest Hits)
Milestones – Bird. Miles Davis, John Lewis, Nelson Boyd, Max Roach. (Grandi Jazz)
Think of One – Monk. Charlie Rouse. Frank Dunlop. John Ore. (Crisscross. CBS.)
Bloomdido – Charlie Parker – Dizzy Gillespie. Theolonius Monk (piano); Curly Russel (Bass); Buddy Rich (drums) Recorded June 6th 1950. (The Anatomy of Improvisation). -
DJ FLY AGARIC 23 IN EUREAKA CALIFORNIA 2003 (LIVE)
Thanks to ARCHIVE.ORG
Special thanks to Larray Narachi and Bob Cogswell for making the dedicated efforts to make such fine live recordings.
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DJ FLY AGARIC VS. ALAN HERTZ AND FRIENDS 2003 EUREKA
Back in 2003, mid summer i was on the road with some of the finest musicians and innovators along the west coast musical environs. Alan Hertz, Tal Morris, Liam Hanrahan, Eric Levey and myself – on the road.
Staying in roadside Motels, smoking Buddha and playing a thousand different tunes, seeing the Northern California landscapes, eating the food and enjoying the company, cutting my teeth with some playing mutherfuckers. Listen to one set from the tour here at the great ARCHIVE.org.
http://www.archive.org/details/ahf2003-08-21.flac16
Alan Hertz is currently on tour with Scot Henderson.
Eric Levey Plays with Garaj Mahal
And Tal Morris is on tour with Credence Clearwater Revival.Europe?















