From the BBC today,


Excerpt

Why does Taylor Swift write so many one-note melodies?

"It's easy to get distracted by her celebrity, but Taylor Swift is a once-in-a-generation songwriter. From the very beginning, she's displayed a knack for melody and storytelling that most artists never master.

Take, for example, her first US number one, OUR SONG

Written for a high school talent show, it's a fairly typical tale of teenage romance until the final lines: "I grabbed a pen / And an old napkin / And I wrote down our song."

That's smart, self-assured songwriting for someone who wasn't old enough to vote. Notably, the lyrics insert the musician directly into the narrative - something she developed into a tried and tested trope.

But Our Song also establishes another of Taylor's trademarks: The one-note melody.

Excerpt

Repetitive melodies that centre around a single note are part of that appeal. They emphasise her relatability by mimicking the cadence of speech.

"They emphasise her relatability by mimicking the cadence of speech."

"They emphasise her relatability by mimicking the cadence of speech."

"They emphasise her relatability by mimicking the cadence of speech."

Rebuttal

Rhyme sells because the people you are selling too can remember your lyrics. They can relate to your song but if they cannot sing it themselves putting themselves in the 'first-person perspective narrative' they cannot feel as-if they have BECOME the artist and are living that moment as they remember it. Taylor Swift sings about teenage love and angst something EVERYONE ON EARTH understands.

ALL POETRY BEGAN AS RHYME IN SONG.

Cadences are singing statements that confer a discipline and unity.

Song acts as a catharsis. The artist shares their pain in a way that is universally understood. If you want to sell a rock, literally a pebble, you will not sell it if it doesn't look like a rock. If it doesn't do what rocks do. If it is not what people remember a rock to be like. Nor will it sell if it is just like every other rock they have ever seen. It cannot convey an emotion unless it elicits emotion.

One cannot even begin to feel emotional if one cannot remember easily the past and that includes lyrics one has heard that evoked said emotional state.

It is horrifying to see HOW BADLY EVERYONE INSISTS that rhyme be obliterated in exchange for an intellectual or individual perspective NOT SHARED BY THE MAJORITY OF PEOPLE.

If you want to sell and make money you better start thinking about the 99% of people who are not geniuses.

If your sole goal in life is to attract a genius to give you a great job because of how, "smart," they perceive you to be then fine.

You are not an artist.

You are an employee.



"Rhyme sells because the people you are selling too can remember your lyrics."

"Rhyme sells because the people you are selling too can remember your lyrics."

"Rhyme sells because the people you are selling too can remember your lyrics."

Thrice Times Great. ⁻ᴴᵉʳᵐᵉˢ



                                           BECOME
                              EVERYONE ON EARTH
               ALL POETRY BEGAN AS RHYME IN SONG
                      HOW BADLY EVERYONE INSISTS
            NOT SHARED BY THE MAJORITY OF PEOPLE
                                         HOW BAD
                    
                 artist?
or employee?

Municipal Gum was written by Oodjeroo Noonecaal. Municipal Gum is about the changes in society and the tendency of people to want to control everything. Oodjeroo uses various techniques to convey this idea.

At the beginning of the poem Oodjeroo is addressing the tree. This immediately creates empathy for both the tree and her people. By the last line she has emphasised this with the pronoun “us” to show that they suffer a similar fate.

This poem expresses how life in Australia has changes especially for Aboriginal people. In the first half of the poem Oodjeroo is talking about how life was for her and others. It explores the changes in society and the displacement of the Aboriginal people from their land.

“Whose head hung…Its hopelessness”, the author uses this as further re-iteration of the immorality of the situation and by the use of analogy comparing the tree to her people to further emphasise the shame and lack control of that the Europeans have inflicted upon her and the environment.

Oodjeroo uses extended metaphor technique in the very first line of the poem ‘Hard bitumen around your feet’. This means that the gumtree has been placed in the city scape where it is suppressed and not allowed to spread out and be unique in its own way. This is clear and immanently direct link to the pain and suffering endured by the Aborigines post European settlement.

Oodjeroo uses vivid language to present these ideas. For example the use of the word castrated is very effective. The connotation of the word is very demeaning. With castration often comes a sense of a loss of pride and power. The word castration is symbolic of how Oodjeroo feels the European have treated Aboriginal people and the environment. Castration also refers to the fact that what is done is done. Nothing can undo what they did and the damaged they have caused.

Other symbolism includes the title “Municipal Gum”, municipal meaning community, implies that the gumtree belongs to the community. One of the vast differences between European and Aboriginal law is that Aboriginal people did not believe in the ownership of land or of animals and plants. Municipal Gum is a reference to the Europeans assumptions that everything is theirs to own and control.

The rhetorical question, “O fellow citizen, What have they done to us?” is the conclusion of the implications that have been made throughout the poem. Oodjeroo, is advocating for her people and all things wronged by the controlling behaviour of the Europeans. Rhetorical questions are used to provoke thought and to stimulate a pre-determined response. “What have they done to us?” They have “castrated, broken… strapped and buckled” and ultimately changed things to a point that they cannot be fixed.

In conclusion, Municipal Gum is a poem about the constrictions and change that the European invaders forced upon the Aboriginal community and the environment she believes that the Europeans have deemed themselves ever powerful and practice their power in a manner that is immoral.

now i know why i might engage with writing obscene
poems, chauvinism included, but still there
is no burning excuse in my mind with the way
western society actively desires censorship of certain
words, i already attributed censoring obscene
words as worse than what this tactic precipitates into:
the apathetic spread of *******, and violence
in general... it crosses my mind that sparring with violent
language cushions people from violet action...
to utilise violent language with that: pardon my French
attitude does more good than evil on the users...
how many road rage incidents could have been avoided
if people were unable to watch their tongue:
somehow we're making language sterile, by actively
pursuing this sort of censorship: which is not even
remotely politically related / motivated, we're bringing
an anaemic status quo in how fluidly we speak -
we desire to not hear the sometimes funny and the sometimes
awful... but we choose to see the god-fearing horrific...
ask any blind-man about music and he'd say:
well, i can dance to it in a nucleus position, centrally
gravitational pull - but ask the deaf man about
what he has to say when seeing **** written to counter
obscenity, as in cartoon-like: f&%£! it's just plain silly,
pocket-sized expression of psychotic behaviours,
rummaging through them i find only one source of inspiration:
the fact that we're in this blind-man's garden of innocence,
somehow dressed in the camouflage of censorship such
a tiny problem, that it does indeed require 23 mattresses
for the princess to not feel the frozen *** agitating her...
this sort of censorship in its application is under
a false sense of purpose, it really doesn't change people's
behaviour for the better, it doesn't pacify them, in does
the reverse: it infuriates, it makes violence more potent...
i'm still trying to figure out why such words
will make our perceptions saintly... unless of course
that's the reason behind them, as way of invoking an
anaesthetic placebo, a placebo that's actually active rather
than passive - presuming the anaesthetic placebo gives
way to an aesthetic active apathy-inducing ingredient...
meaning we can't bare to hear swear words, but we can
gladly watch 20 hours of 20 : 1 ****... censoring **** ****
**** **** will not escape Newtonian physics...
given our current scenario, Newtonian physics is far
more important than Einstein's relativity, i'd hate to be
in denial about cause & effect... as began with Socrates,
i too abhor moral relativism... of course Newton got
the gravity bit wrong, but i like the simpler version...
plus... there was no Romance with Einstein...
no apple, no tree, no Voltaire... meaning we don't necessarily
write history collectively, with all of us starting from
the big bang or the view from the Galapagos islands...
we don't... we continue writing history not from a
collective consciousness genesis... or from the collective
unconscious genesis - that's Jung with his archetypes
(devil, god, wise man, mother, father etc.) rather than
dreams (Freud) - we can chose were to write the future...
it's not so much ignorance as arm-chair intellectualism,
it's not about the safety of understanding something,
but the comfort of choosing to understand something...
which is pretty much to my excuse for my previous poems...
Heidegger... and that concept of Dasein -
i never bothered to understand it to the point of
reacting subjectively to it, by that i mean an interest
in writing about it, an interpolation of the subject with
alternative variations... i objectified it, i also countered it
when objectifying the concept turned out to be an
everyday object, shortening my quest.
the counter? hiersein, i.e. being here, here denoting a
solipsistic classification of awareness with / in the world -
which is basically me in my room, admiring my library,
my record collection, my torn sneakers, everything that
is classified exclusive to what dasein evolves into
when all its grammatical weaving only express a verb,
i.e. concern... so i thought, given this what can hiersein
(being here / nonchalance) actually show me as
my lack of interest in: "changing the world".
it became obvious yesterday, i had a hard time when i
didn't read the day's copy of the times (more on this later),
instead i had to suffice with construction site media,
you might have heard of this newspaper: the daily star,
at 20 pence a pop, you will see what £1.20 makes to
your psyche... but that's basically it, i objectified Heidegger's
concept and made it into an everyday object, in this
case and as the only case available: a newspaper -
and the trick is? well, with a newspaper like daily star
you don't actually experience dasein - it's completely
missing in this style of media, and that's worrying given
my barbaric poetry of yesterday... it's missing, not there,
such object-for-object chirality is what gives birth to
hiersein (being here); but today i returned to my usual
media diet, a flicked through the times and the natural
balance of personal objects and a fresh impersonal object
coexisted - the newspaper is truly the most adequate
compounded expression of Heidegger's dasein -
which i attribute to the constant need to emphasise an
empathy with others... empathising is a neutral form
of sympathising, since sympathy is sourced in shared
experiences: **** victims (e.g.) - therefore empathy is
something that in the ontological structuring of dasein,
which opposes the ontological structuring of hiersein,
which is structured by apathy; there is nothing else for
me to write, apart from the compendium proof
of the disparity of sources, i.e. headlines and subheadings:

- prior compendium -

i will never understand the point of autobiographies,
the majority of autobiographies are written
on a p.s. basis, after the facts / actions,
never immediately, concerning ideas /
solidified thoughts, thoughts condensed into idea
that allow thinking / cognitive narration to
continue regardless with what's being achieved...
i haven't anything autobiographical dissimilar
with something biographical...
Plato wrote that wonderful biography like
Shakespearean theatre, but i guess his critics felt
the claustrophobic tug & pull of mermaids...
still the problem ascends heights unparalleled -
even with ghost writers doing the leg-work...
cheap-buggers never learned to write, let alone read,
and here they are writing biographies...
ah, **** it... they're only sketches... whether biographic
or autobiographic... they're still mere sketches...
if this was the art world the revenue would come
posthumously, when it comes to literacy
nothing really distinguishes poets from
those prescribing pedestrian signs...
the Olympians can moan at the vacant stadium...
that there's a hierarchy in sports,
with the favoured monochrome idealisation
of where the bunny money is in the whirlpool
of the rabbit hole investment: football, volleyball...
but the literary events are the same...
people love to lie that they read the bestseller to
its full extent... but treat books like chairs and tables...
inertia prone half finished, sat on for 2 weeks of
the entire year... the Olympians are very much
like poets, and i care to distance myself from either
demand for more interest being invoked...
i like esoteric sports, i like esoteric writing...
but that's how it stand: poets are Olympians where
novelists are footballers, who retire at 30 and
then think about what to do with their wages
that are 10x higher than the everyday labourer...
start a restaurant, buy a strip of houses in Liverpool
like Michael Owen? good guess, here's to exploiting
youth disgracefully... that's what they're getting,
and these are the dilemma points to consider...
they're the equivalent gladiators of our time,
Rome was just a sleeper before it awoke once more...
but i'll never understand why these
people decided to exploit literature for gain...
all these academics with their pristine purity of discovery
are pacified when dictating print,
what poet, has a chance in hell, to appear gladly
excavated from Plato's cave of television?
about none.
i too was focusing on 20th century literature,
before 21st literature came about...
and i thought, oh god: they're really going to create
a totalitarian democracy, every artist will be
strip-searched for adding cinnamon and chilli to their
writing to bounce away from conformist
sober and sane extraction of alter wordings...
this 21st scene will become polarised...
we'll have the extinction of One Direction over a joint,
while the Rolling Stones drank a keg of whiskey
and pulled off a show... we'll have moralisation
of the fans to subdue the artists, which will mean
no artist will ably create a zeitgeist to rebel... everyone
will suddenly experience a weird sort of communism...
the worst kind... it will mean having
all the mental freedoms without the ability to
economise a coup... basically an inertia, an immediate
fatality... we can't economise a coup...
which boils down to why so many autobiographies
aren't really biographic, but rather consolidating,
by the meaning: autobiographic i intended to relate
the everyday... the most secretive account of life:
the everyday... this is stressing Proust,
even though i preferred Joyce over Proust i keep
the everyday the prime ideal: the only detail,
so that an autobiography can make sense,
automation of writing, like breathing or sneezing...
not some monetary-spinning device 20 years after
the facts... 20 years later you're pretty much writing
fiction... i am all for the biosphere of expanding
Alveoli... but when did you ever read an autobiography
that mentioned the taste of weak coffee
from the Friday of 20th of August 2016? never;
you read autobiographies
like you read self-help books...  waiting for
all that experience regurgitating motivational talk
about reaching a plateau of comparative success...
i can understand autobiographies written by the elders,
i understand biographies written about people
posthumously - but the tragedy is, given the spinning
wheel of money? we're getting "auto" biographies
written toward their 3rd volume renditions of
people aged 30... let alone 40... so much for
western society having the upper hand on political matters...
just saying: sort your own **** before trying
to sort other people's problems...
i could understand if these autobiographies were written
as described: automaton solo... but they're not...
before the compendium it's this everlasting presence
of a desired body of power being depicted:
prior the monopoly of knowledge, there was a monopoly
of literacy... given that 99% of us are literate, it
actually doesn't mean a third donkey's *******
whether we can read, or write, we got shelved in controlling
this once priestly vanity, we got taught bureaucracy alongside...
but the monopoly of literacy is way past us,
we're being convened in the ability to monopolise knowledge,
(oh please, don't let the paranoia seep in,
remember yourself when reading me, once in a while,
i don't drag you to phantasmagorical heights, even if i could,
i'd prefer you being agile in learning how to be bored
than letting your repel the same boredom i too share,
well... but **** me if you want to be the next Lenin) -
and the easiest way to monopolise knowledge? the media...
you basically need a lot of facts, and an evolved version
of dialectics, dialectics being the prime enemy of democracy
(it's not an alternative political model like despotism as
we are held to believe, it's actually dialectics,
suppressing other forms of collectivisation is the one
sure method of suppressing the attempt at dialectics
(individualism) - by making people overly opinionated,
ergo: the inability to engage with opinions, blind-alleys
throughout all plausible attempts to do so) -
so once you have enough facts to fiddle with the Rubik's cube
of juxtaposition, you end up with the ultra-scientific
form of dialectics... the matter of opinion in relation
to truth without a relative uniformity that prescribes
the status quo stasis is a debate about how accurate
we all are: i.e., is that true to the closest centimetre,
or the closest millimetre? it's a bit like watching a Zeno
paradox:
                 10.1                           and 10.01
      which one's tortoise and which is Achilles?
well, you know; ah ****! the compendium of the two
newspapers which got me slightly depressed...

- the compendium -

a. daily star

- B. BRO SAM'S SECRET 'NERVOUS BREAKDOWN'
- Laura & Jason's baby joy
- Robbie (Williams) £1.6M a night!
- BREXIT BOOST ON JOB FRONT
- ANGE DAD BACKS TRUMP
- JR'S wife Linda set to Holly
- Edd's no Beverly Hills flop
(Lana among cow *******)
- LAURA: OUR TINY TROTTS WILL BE WORLD-BEATERS
- FURY AT BAD LOSERS' SLURS
- 'Jealous sis' jibes
- MAKE YOUR KID AN OLYMPICS ACE
- Peaty: I want to be a rapper
- TV girl really ill
- **** SAM, 'ON THE BRINK OF BREAKDOWN'
- COSTA ***** HELL
- CAGING ANJEM WILL INSPIRE NEW JIHADIS
- POG'S LOADED AGENT BUYS CAPONE'S LAIR
- I'll make Kylie a pop star
- JEZ DOESN'T KNOW ANT FROM HIS DEC
- GUILTY OF DEMONIC SAVAGERY
- Great British Rake In
- Britain is *******
- BAYWATCH U.K.
- Va Va Vroom
- JUST JANE: My lover snubs plea to get wed
- HART: I'LL DECIDE WHEN TO GO.

b. the times

- Boy victim becomes a symbol of Assad's war
- US Olympics swimmers invented robbery tale, say Rio police
- Make us sell healthy food, supermarkets implore May (P.M.)
- Lost weekend of the lying best man
- fears over free speech delay law to silence hate preacher
- Met's 'commuter cops' live in France
- Husbands happiest when they earn half as much as wives
- Socialists plot to drive Britain left
- Fake human sacrifice filmed at European high altar of physics
- Officers investigated over ex-footballer's Taser death
- Number of pupils taking languages at record low
   (Mandarin @ 2,849 - % decrease of 8.1,
    alarmingly religious studies 27,032 up by 4.9%
    and psychology of status 59,469 up by 4.3%....
    meaning the mad will soon be diagnosing the sane
   as mad, just because the curriculum said so)
- Top grades add up to 100% at the school for maths prodigies
- Deprived sixth formers thrive on competition
- European students rush to get into British universities
- DVLA earns £10m selling driver's details
- Mystery over Kenyan death of aristocrat
- Journalist who voted twice reported to police for
  'fraud'
- Tomato tax threatens European trade war
- Love story of the Pantomime
- Homeless conmen fleeced widow, 81
- Brownlee brothers at the Olympics...
- Hopeful shoppers give sales a lift after Brexit vote
- MoD guard could be stood down despite terrot threat
- Owners spit mansion after failing to sell
- The job with international appeal: saving our hedgehogs
- Finch warns unborn chicks if weather gets warm
- Migrant violence rises after decline in policing around Jungle
- Longest road tunnel promises a relaxing ride under Pennines
- Mothers step up to drive Tube trains through night
(rowdy teens ageing exponentially on a Saturday night
when not getting a lift, ******...)
-MP's deal with bookmaker to be investigated
- Ebola nurse 'hid high temperature'
- Shoesmith's ex-huspand kept child *******
- Morpurgo war tale springs into life
- Supergran fights off teenage muggers
- IVF is more successful for white women
OPINION SECTION
- Great political fiction is good for democracy
- the BBC is leaving its audiences in the dark
- airline food? just pass me the gin and tonic
- Modern Olympics began on the fields of Rugby
/ greasy polls, holding firm, tongue tied,
  call for compulsory targets to tackle obesity,
second in line, mindfulness course, cost of planning,
puffins v. ship rats.... and all future letters to the editor /
- Moscow presses Turkey for access to US airbases
- Hundreds killed each month in Assad's jails
- Putin bans celebration of defeated KGB coup
(another James Bond movie on the cards,
i'm assured, and with a moral carte blanche) -
Hollande clams Carla Bruni spied concerning his
use of diapers...
- Euthanasia tourists flock Belgian A & E from France,
  where a revival of ****** made people dress shark-fin
  sharp on the catwalk...
- Mosquito pesticide linkage application = intersex /
   East German women
- Haiti cholera linked to Nepalese **** and ***** via
  the

Shortly after 3pm on September 29, 31-year-old Olivier Rousteing strode through the shimmering, fleshy backstage area at Balmain's Spring 2017 Paris Fashion Week show. Along the marble hallway of a hôtel particulier in the 8th arrondissement, long-limbed clusters of supermodels were gamely tolerating final applications of leg-moisturiser, make-up touch-ups and minutely precise hair interventions from squads of specialists as fast and accurate as any Formula 1 pit-stop team. The crowd parted as Rousteing swept through.

Wearing a belted, black silk tuxedo and a focused expression that accentuated his razor-sharp cheekbones, Rousteing resembled a sensuous hit man. Target identified, he led us to the board upon which photographs of every outfit were tacked.

We asked him to tell us about the collection (for that's what fashion editors always ask). "There is no theme," said Rou­steing in his fast, French-accented lilt. "No inspiration from travel or time. The inspiration is what I feel, and what I feel now is peace, light and serenity. I feel like in my six years here before this, I have tried to fight so many battles. Because there is no point anymore in fighting about boundaries and limits in fashion. Balmain has its place in fashion."

And the clothes? "There is a lot of fluidity. A lot of knitwear, lightness, ponchos. No body-con dresses. But whatever I do, even if I cover up my girls, it is like people can say I am ******. So this is what it is. I think there is nothing ******. I think it is really chic. I think it is really French. It is how I see Paris. And I have had too many haters during the last three years to defend myself again. So, this is Balmain." And then the show began.

Star endorsements

Under Rousteing, Balmain has become the most controversial fashion house in Paris. Rousteing has attracted (but not bought, as other, far bigger houses do) patronage from contemporary culture's most significant influencers. Rihanna, all the Kardashians, Kanye West, Taylor Swift, Miley Cyrus, Beyoncé, Justin Bieber – a royal flush of modern celebrity aristocracy – all champion him.

Immediately after this show, in that backstage hubbub, Kim Kardashian told me: "I thought it was very powerful…I loved the sequins, and I loved all the big chain mail belts – that was probably my favourite."

Yet for every famous fan there is a member of the fashion establishment who will sniff over coffee in Le Castiglione that Rousteing's crowd is declassé and his aesthetic best described by that V-word. The New York Times' fashion critic Vanessa Friedman reckoned this collection appropriate for "dressing for the captain's dinners on a cruise ship to Fantasy Island". At least she did not use the V-word. When I once deployed it – as a compliment – in a 2015 Vogue menswear review that declared "Rousteing is confidently negotiating a fine line between extravagance and vulgarity", I was told that Rous­teing was aggrieved.

The fashion world's ambivalence towards Rousteing is a measure of its conflicted feelings towards much in contemporary culture. Last year Robin Givhan of the Washington Post wrote of Balmain: "The French fashion house is always ostentatious and sometimes ******. It feeds a voracious appetite for attention. It is anti-intellectual. Antagonistic. Emotional. It is shocking. It is perfect for this era of social media, which means it is powerfully, undeniably relevant."

Since joining Instagram four years ago Rousteing has posted 4000 images and won 4 million followers. The combined reach of his audience members and models at this Balmain show was greater than the population of Britain and France combined. Balmain was the first French fashion house to gain more than 1 million followers, and currently has 5.5 million of them.

Loving his haters

As digital technology disrupts fashion, Balmain's seemingly effortless mastery of the medium galls some. Last year, the designer posted an image of a comment from a ****** follower to his feed. It read: "Olivier Rousteing spends more times taking selfies for Instagram than designing clothes for Balmain." Underneath, in block capitals, he commented "i love my haters".

Rousteing can be funny and flip – doing a video interview after the show, I opened by asking, tritely, how he felt. He replied: "Now I feel like some Chicken McNuggets with barbecue sauce, and then some M&M;'s ice cream."

When at work, however, that flipness flips to entirely unflip. The previous evening, at a final fitting for the collection, Rousteing had paced his studio, his face a scowl of concentration, applying final edits to the outfits to be worn by models Doutzen Kroes and Alessandra Ambrosio. The 30-strong team of couturiers working in the adjoining atelier delivered a steady stream of altered dresses.

"We are ready," he said from behind a glass desk in a rare moment of downtime. "This a big show – 80 looks – and I want a collection that is full of both the commercial and couture. But it's smooth too. All of the girls are excited about the after-party and interested in the music. And eating pizza." In the corridor outside Gigi Hadid – this season's apex supermodel – was indeed eating pizza, with gusto.

The fitting went on until far beyond midnight; Rousteing, fiercely focused, demonstrated the work ethic for which he is famous. When he was studio manager for Christophe Decarnin, his predecessor at Balmain, the young then-unknown was always the first in and last out of the studio. Emmanuel Diemoz, who joined Balmain as finance controller in 2001 and became chief executive in 2011, says that his hard graft was one of the reasons he was chosen to succeed Decarnin.

"For sure it was quite a gamble," says Diemoz. "But we could see the talent of Olivier. Plus he understood the work of Christophe – who had helped the brand recover – so he represented continuity. He was a hard worker, clearly a leader, with a lot of creativity. Plus the size of the turnover at that time was not so huge. So we were able to take the risk."

Clear leader

Which is why, aged 24, Rousteing became the creative director of one of Paris's best known – but indubitably faded – fashion houses. In 2004 it had been close to bankruptcy. In 2012, Rousteing's first full year in charge, Balmain's sales were €30.4 million and its profit €3.1 million. In 2015, sales were €121.5 million and its profit €33 million. Vulgarity is subjective; numbers are not.

Rousteing, who is of mixed race, was adopted at five months by white parents and enjoyed an affluent and loving upbringing in Bordeaux. "My mum is an optician and my dad was running the port. They are both really scientific – not artistic. So I had that kind of life. Bordeaux is really bourgeois and really conservative, I have to say."

After an ill-starred three-month stint at law school – "I was doing international law. And I was like, 'oh my God, that is so boring'" – he did a fashion course that he managed to tolerate for five months.

"I found that really boring as well. I just don't like actually people who are trying to **** your dream. And I felt that is what my teachers were trying to do."

Obsessed with Gucci

Following a three-month internship in Rome – "also boring" – Rousteing became fascinated with Tom Ford's work at Gucci. "I was obsessed, obsessed, obsessed. Sometimes the press did not get it but I thought 'this is like genius, the new **** chic'. Obsessed, full stop."

He wanted to work there – "that was my dream" – but applied to every fashion house he could, and found an opportunity to intern at Roberto Cavalli. "They took me in from the beginning. I met Peter Dundas [then womenswear designer at the brand] and he said you are going to be my right hand – and start in four days."

Rousteing counts his five years in Italy as formative both creatively and commercially, but when the opportunity came to return to France in 2009 he leapt at it. "Christophe said he liked my work and that he needed someone to manage the studio. So two weeks later I was here. I loved Balmain at the time, when Christophe was in charge. It was all about rock 'n' roll chic, ****, Parisian. And he was appealing to a younger generation. You can see when brands become old but Balmain was touching this new audience. I always say Christophe's Balmain was Kate Moss but mine is Rihanna."

When Decarnin left and Rousteing replaced him, the response was a resounding "who?". His youth prompted some to anticipate failure.

"It was not easy at all. Every season I had the same questions." Furthermore, Rousteing (who has said he thinks of himself as neither black nor white) was the only non-white chief designer at a Parisian couture house. In a nation in which very few people of colour hold senior positions, his race may have contributed both to the establishment's suspicion of him and to his powerful sense of being an outsider.

'Beautiful spirit'

As he began to build a personal vernacular of close-fitted, heavily jewelled, gleefully grandiose menswear – fantastical uniform for a Rousteing-imagined gilded age – for both women and men, that V-word loomed.

"They asked, 'But is it luxury? Is it chic? Is it modern?' All those kinds of words. But you know there is no one definition [of fashion] even if people in Paris think there is. And, I'm sorry, but I think the crowd in fashion are those who understand the least what is avant-garde today."

In 2013 Rihanna visited the studio, met Rousteing, and reported all with multiple Instagram posts. "You are the most beautiful spirit, so down to earth and kind! @olivier_rousteing I think I'm in love!!! #Balmain." :')"

Rousteing met Kim Kardashian at a party in New York – they were drawn together, he recalls, because they were both shy – and was promptly invited to lunch with her family in Los Angeles.

An outsider in the firmament of old-guard Paris fashion, Rousteing was earning insider status within a new, and much more influential, supranational elite. He points out that Valentino, Saint Laurent and Pierre Balmain himself "were close to the jet set of their time. What I have on my front row is the people who inspire my generation".

From them, he learned a new way of doing business. "I think it was Rihanna and the music industry that first understood how Instagram can be part of the business world as well as the personal. But in fashion? When we started it was 'why do you post selfies? Why do we need to know your life, see you waking up, see you working? Why don't you keep it private'. And I was like 'you will see'."

Rousteing cheerfully declares his love for Facetune – "I don't have Botox but I do have digital Botox!" – an app that helps him airbrush his selfies and tweak those ski-***** cheekbones.

Reaching new population

From his office around the corner from Rousteing's, Diemoz adds: "When Olivier first proposed Balmain use social media, our investment in traditional media was costing a lot. Here was an alternative costing less but bringing huge visibility. It has been successful, quite rapidly…we decided to be less Parisian in a way but to speak to a new population. A brand has to be built around its heritage but we are proposing a new form of communication dedicated to a wider group of customers."

The impact of that strategy became apparent in 2015, when Rousteing and Balmain were invited to design a collection for the Swedish fast-fashion retailer H&M.; Within minutes of going on sale – and this is not hyperbole – the collection, available at vastly cheaper prices than Balmain-proper, had completely sold out. In London, customers fought on the pavement outside H&M;'s Regent Street branch. "Balmainia!" blared the headlines.

You have to move fast to get backstage after a Balmain show. I was out of my seat and trotting with purpose even before the string-heavy orchestra at the end of the catwalk had quite stopped playing Adele.

Rousteing had taken his bow merely seconds before. Still, too slow: I ended up in a clot of Rousteing well-wishers stuck in a corridor blocked by security guards. A Middle Eastern woman against whom I was indelicately jammed looked at me, laughed, shook her head, then said: "We pay millions for a fashion house – and then this happens!"

In June, Balmain was bought for a reported €485 million by Mayhoola, a Qatar-based wealth fund said to be controlled by the nation's ruling family. As so often with Rousteing-related revelations, some declared themselves nonplussed. "Why Would Mayhoola Pay Such a High Price for Balmain?", one headline asked. Yet Mayhoola, which acquired Valentino four years previously for $US858 million, might have scored a bargain.

Clothes key to revenue

Despite its huge, Instagram-enhanc­ed footprint, Balmain is a small, lean and relatively undeveloped business. Most luxury fashion houses today – Chanel, Burberry, Dior, et al – will emphasise their catwalk collections for marketing purposes but make most of their money from the sale of accessories, fragrances and small leather goods like handbags and shoes. One of the big fashion companies makes a mere 5 per cent from its catwalk clothes.

At Balmain, by contrast, clothes bring in almost all the revenues. If Balmain had the same clothes-to-accessories ratio as its competitors, its overall annual income could be more than €1 billion ($1.4 billion).

The company is moving in that direction. New accessory lines are in the pipeline. "Now we have to transform that desire into business activity," said Diemoz. "Sunglasses, belts, fragrances, the kind of products that can be more affordable."

The first bags should be available in January, as will a wider range of shoes, and then more, more, more.

Six days after his show, on the last day of Paris Fashion Week, I returned to the Balmain atelier. Apart from two assistants, Rousteing was the only person there – everybody else had gone on holiday to recover from the frenzy of preparing the show, or was busy selling the collection at the showroom around the corner.

Rousteing sat behind his desk in the empty room, wearing slingback leopard-print slippers, sweatpants and shades. "I am not even tired! I am excited. Because there are so many things happening – and I can't wait."Read more at:www.marieaustralia.com/red-carpet-celebrity-dresses | http://www.marieaustralia.com/formal-dresses-adelaide

"Alternative Facts" the truth belies,
Often in "Fake News" the real truth lies,
"Exaggeration", "Aggrandizing"
In truth are other words for lying.
The value of honesty seems lost,
Sad truth is, at a terrible cost!

To our kids now we must emphasise
That Facts; the Truth, must Always Trump Lies,
That by lying there's nothing to gain;
That Truth cannot be held in disdain.
From lies and untruths all must refrain
To make Truth, Honesty, Great Again!

Don't be
A mole.

I hate moles.

They burrow
And
Scavenge
And
Live in the
Dark.

Thats just
What you did
To my heart.

You burrowed
Deep,
Down to the center.

You set up camp.
And I didn't know
You were a mole.
I thought maybe you were
A
Straw,
To ****
Bad things
Out.
So I kept you warm
And waited calmly for the
Bad stuff to
Dissapear.

But I realized
That
You were a
Magnifying glass,
To emphasise
My flaws

And you were
A
Seam-ripper
To
Pull the patches
From where
I had already healed,
To make the scabs
Bleed
Again.

And I thought you were
A
Jigsaw
And you were broken
So I could fix you
And put you
Together.

Like a
Vase,
Easily
B
r
o
k
e
n.

And
Then
You left me.

Like a
Tooth
Full of
Cav it ies.

That
Space
Next
To
My heart

No longer full.
And you
Didn't depend on me,
No longer a tapeworm.

I miss you.
Like
You
Were
Mine.

But you were
Never
Mine.

Is humanism Utopian?
You really have to think about it.
Or is it rather more dystopian?
No, then I think you’d never doubt it.
It seems that disbelief is best.

Humanism owes a debt
to thinkers of the Enlightenment,
although I haven’t paid it yet,
I think of it as my entitlement
to settle it at some behest.

I very early cleared my mind of Kant,
experiencing a vast relief,
approaching his chef d’oeuvres extant;
removing knowledge to allow belief;
the opposite of what he had expressed.

It occurred to me I ought to dig up
(or should I say instead ex-hume?)
what constitutes at least an egg-cup-
full of wisdom that I might consume
with non-platonic zest.

But wondering how on earth to do so
and thinking he might hold the key,
I fixed my sights on Jean Jacques Rousseau
and set sail for my destiny,
while trying not to feel depressed.

Voltaire’s voices loudly rang in deaf ears
as did the Persian Letters of Montesquieu
and failed to still my latent fears.
And thus I felt no need to rescue
Adam Smith (morality-obsessed).

To put Descartes before the Horse-
men of the Apocalypse
War, famine, pestilence and worse.
Who could guess it would eclipse
my thought, wherefore I was oppressed.

Or take the case of Denis Diderot
a friend of Hume and others seedier.
and one you might consider so
rash as to produce an encyclopedia
to get his knowledge off his chest.

That precious quality of truth
was Mary Ann’s# description of it.
It would not take a Sherlock sleuth
to simply thus produce a conviction of it:
an elementary request.

I cut my questing teeth on Russell.
His secular logic had a profound effect
and seemed to stir each red corpuscle
inhabiting this fervid non-sect-
arian but doubting breast.

I later turned my eye on Dawkins,
and his concern with my divine delusion.
A sceptic whose inspiring squawkings
validate my disillusion
and emphasise an ill-starred quest.

And so I felt the pointlessness of it.
Progress is the best end for a man to see
And belief simply produced less profit
for reality’s dispelling of my fantasy.
So, in the end, I acquiesced.

#Mary Ann Evans, aka George Eliot, in *Adam Bede

i gather, all philosophy is written on the anti-cross, or a sickbed... and all maxims on the deathbed - in between there's nothing but vain distractions that have no basis for a consensus of surprise - they are merely therapies of manual labours, shadow-caste by weakness to invoke a sense of belonging to this world akin to a labourer of pure action - reduced to the same pure action: as one might showcase faking one's own death.

Kant said of poets: bothersome flies -
here to steal the cupcakes of my pondering:
zwischen die volkern erzielt wird
a mondus vivendi - in vivo or in vitro?
alter: mondus quasi vivendi -
and all that talk about sabotage (canto xix)?
his own poetry - even the sarcasm, but
especially the sarcasm shines through pristine
as if Hannibal Lecter talking about Alabama:
i gawt dem tousand doughlars tough mak 'em...
        awl over the plaice -
            got to give Ezra the cheek for demonic
slapping to shove that one, up their pristine
temple of ahoy ****! still, the variation is there:
usury and simony - talk of,
       Thomas the Cartesian -
Peter Simon the Usurer - the rock that gave
way to 1000% a.e.r. of maggot - interests rates
and what they said about her:
         piece of meat for the film, *****,
second rate: ***** slapped to Disney - and aren't
women natural sadists? i guess the Cesarean section
was a move in the wrong direction:
*****, pain! *****, pain!                well...
          if i was ever to be bothered, i'd be bothered now:
they're saying you need your genitals stretched
like Armstrong winning the 8th tour de france -
but f.g.m. is bad, bad bad bad -
hey, i was the one who said: get an abortion,
i didn't love you in the same way i ****** you...
you'd think she wouldn't think she was a murderer
akin with me, until the **** ***** turned into
a yanking diaper wearing blob -
                  i love how precursor physics akin to
post-physics (metaphysics) is entombed with pepper
ante: so sneeze into the benzene ring and get
either para- or ortho- physics out -
but she was russian orthodox, which is worse
than roman catholic: no feeling of guilt -
just the relativity factor: forget female rights:
let's just **** the ****** for giving her freedom -
yeah... and i just graduated and couldn't find
a job in chemistry, was working as a roofer:
she has two apartments in St. Petersburg and a mansion
in Siberia... and she sums it up as: i have no money.
blah ha ha ha ha; and i have an aunt in Warsaw
who sends me monthly stipends to drink myself to
death while i write the alternative to Proust.
  he really gave it to them in Ohio: i really gave it
back to London, imagine being published in the town
of your birth, simply because the western notion
of a book: is actually a brick, or a rubber door-stop -
unless you're famous? forget it... seriously,
they really have destroyed poetry with the idea that
autobiographies will **** poetry off...
question is: if you lived an interesting life...
why would you write a book? why would you?
i'm sure you'd continue making life interesting,
Don Juan wrote a book, Faust was like: bartender!
next round! and what's with these ghost writers?
that's like taking the concept of narration
and inventing a fourth dimension -
            our literary tastes and ambitions... are actually
ruled by dyslexics - people who not only can't
write... but who primarily can't punctuate...
now... if this is a healthy society (that we live in)...
then i guess Iraq is an improvement after toppling
Saddam... bra-*******-vo.
                         if i were the west i'd shut up
for one generation, and stop this political fetish of
foreign policy - but, as you guessed it... it won't work...
           just today, a program: 15 years after -
truth, lies, and conspiracies - well... if Guy Fawkes
did blow up parliament, we wouldn't be having
bonfire night celebrations, we'd be having debates...
but since Guy Fawkes plot was a failure:
ola anonymous! ola whoever...
                  and that massive tower in Dubai?
it was an architectural coup - let's freshen things up,
let's keep the competitive streak coming -
who's ******* overshadows all other erections
(egoism)? point is... i don't even care,
         there's no point playing hide (deny) & seek
(doubt) with these people... there's no point!
         i'm not seeking the ultimate noun -
    or how you perpetrate grammatical cleansing:
you basically strip words of meaning,
   and drop them, face-down, into their respective
grammatical category, and the job's done:
no grander meaning, no ulterior purpose,
    no alternative suggestion;
        or rereading Nietzsche - you either recite
something by the author, or you cite the authority
behind your own investigation - the former is
sycophantic stagnation, the latter a narrative continuance:
                furthermore? continual nuance.
    that's how rhyme will remain until i find
the original intention of poetry's need for rhyme to
   be anything but what it currently is: unappealing -
it's like poets want to write something that can be
classified as poetry... which obviously leads to
  the controversy of: but it's so ****** unappealing!
  hence the revision of rhyming to and from couplets -
   i only came across an interest in philosophy aged 21...
  any sooner and i'd fall for reciting dogmas and
upholding the arguments of others...
                   but i only came across this subject through
a collision with strife: or the lost care to strive
   in order to suspect a need for social ascension into
  the heights of respectable society of: horse racing
at Ascot, champagne and caviar: and airs: oh may i,
   oh you do indeed, sir.
                            and in each and every one of us:
   the brute: the comedian.
       what Nietzsche did to emphasise with italics,
  i'm doing it with the colon - for it is said that the colon
economises emphasis without Niccolò de' Niccoli
                           (ò) - i.e. Nichole - née coal -
in French: cut short; which means? have you ever seen
a new form of literary monopoly emerge
that wasn't ecclesiastical? i have... the diacritical markings
on standard Latin letters - they're not taught:
merely accepted -                   suspension of illiteracy
             hibernating in ages of education:
on purpose dangling - the stick a metre from your
head, the carrot a Don Quixote fata morgana -
  truly: a mirage.                SKY: believe in better.
all those guys in advertisement know their philosophy -
once i met a guy who once worked in advertisement
and was shocked when i summed up Sartre as:
                                                                         voyeurism.
  but there's a new monopoly on literacy in town,
it's obviously more refined than the old way of
telling secrets -
                            it's refined in the sense that i too would
have doubted whether that's haiku in ensō or enso'h -
dried up laughter, or the desert of once heard
laughter: lo'h 'n' behold a stammer for an earthquake -
so soon? yep, that much sooner.
                           looking at it, it's all Copernican
east north south west with some encoding, or all of them:
   up there, on the international space station
you get a hard-on thinking about nautical mathematics.
   i get him though, Nietzsche the Preacher -
              although i limited my experiences in order
to never agree with his observations that precipitated from
his experiences - none of them could have come
from *a priori musings - what with his menage trois -
   again: ménagé (à) trois - or faux pas, i.e. fau(x) pa(s) -
                   as Xerxes said: war!     (alias Łar -
     warsaw - or?   Łarsała - siała baba mak, nie wiedziała
jak - chłop powiedział: a to było tak... a sea-saw)
  while  some dwarf Polish Duck, a.k.a. politician added:
     V'AR!         -             while in this
  retreat in France - Taizé - i served out lunch and dinner
for the congregation, working with this German
  who preferred spiritual duty than army conscription
service; a memorable quote by him though:
   vey d dn't oonderstaand my good En'glish arr-cent:
   plus the Schwarzenegger for comparative literature.

The Universe was  molded for you and I to share
We are created with big Hearts so that we care
  blessed with flawless eyes so we can see the road
and the might it takes to lighten a neighbour's load
these feet are built tough for the miles to walk
we have developed brains to digest and think
and the courage to sail through life like we can never sink
we have these warm arms to tightly embrace
not folding fists, holding weapons to bring unrest
We are born with curiosity,cause life's an adventure
and a difference made by you is your presence in absensure
the beautiful teeth are designed to **** your smile
not to greet in unnecessary coarse envy and bile
our experiences are for us to inspire and tell
to uplift them whose lives feel like a living hell
the mountains and hills were built for us to hike
ensure each fresh climb beats your previous height
rainbows are hope after rain, pleasure after pain
why give up the struggle when you can start again?
the gardens of life are floret scented with consolation
for broken hearts trapped in the darkness of desolation
the scars are a testimony that wounds do heal
don't let a moment the rest your life steal
the starved hunter surrenders not when he has no ****
for the sweet glowing Sun often rises after the bitter chill
these ugly poems are penned to emphasise
that the beautiful souls are seeded to empathise.
leave your footprints in Hearts and not on sand
the dust in the heart holds firmer than that on land
so use your arms, feet, might, heart and soul
use your greatest possession for the good of us all

i shall remain as a hidden piece of a puzzle,
puzzling myself to pieces on why storms
swirl daily around the absence of my brain.
and on this rainy friday afternoon it should be no different;
wondering how i came to be, perched away
in the back of the room to watch a flood of unfamiliar smiles.
when did i become so lonely and outcast?
the dread of not liking most of the people i'm around dawns
and my jagged edges of a puzzle piece emphasise.
i do not fit with these people. they are
too sure on their happiness.

u.n.i.t.y.
john lennon and peace signs
mandela and african lives
jordan and twenty three
bob marley and marijuana trees
el chapo and ivory *******
courtney love and kurt colbain.

ive written the word synergy too many times
but not enough times to emphasise
the synergy between your soul and mine.

- t.m

Will you leave now?
You know they always leave
But they don't always say why
I don't know which one of us I should believe
So many reasons for farewells
Some leave by will, some by chance
And some for someone else

Will you leave now?
Leave me never to return
Some of them never learn
When is it too late to try again?
So many reasons for farewells
Some leave by will, some by chance
And some for someone else

Will you leave me now?
Leave with words that you regret
But never come back to correct
Forever there leading you astray
So many reasons for farewells
Some leave by will, some by chance
And some for someone else

Will you leave me now?
To emphasise that our love has lost it's worth
Take back your heart but leave your shirt
Slam the door on all this hurt
So many reasons for farewells
Some leave by will, some by chance
And some for someone else

Will you leave me now?
Maybe I should have thought of leaving you
I always thought we´d make it through
You know they always leave
But never why they left
Some leave by will, some by chance
and some try to forget

This is no classic scene on a movie screen.
This is real life.
And it’s scenes are the most obscene.

This pain is felt first hand,
And your confusion is severe.
We look to the asphalt and to these mechanic machines and
Believe we live in our ancestors virtual dreams.
You scream:
“It’s 2019!”
And take that as evidence of progress;
Like we are closer to ‘the truth‘ now
Than when even our foods weren’t processed?

Progress?
Yes,
We emphasise physicality
And make clowns of our spirituality
So we can parade falsity.

You see,

We latch to this planet like a leach.
Manipulating your free speech
As you learn only what is deemed worthy to teach.
And that’s it!
That’s all you need to know!
Go on, throw a fit
And call it “history in the making”
While you transfer all knowledge in
A glowing rectangle,
And still mistake emotions with rationality
Yes we’ve reached this calamity!

Don’t make me laugh!
You hate war?
But you get bored of peace
And you fetishise your guns.
And this is no longer a secret,
Now you post red and caption it “aesthetic”
And laugh-cry at those who are unfortunate.

Glory is in the body count,
And ****** is just a sport.
Honour is in the gold,
And there’s no longer any justice
In courts.

Truth is
You’re building a fort
Where ignorance is at its foundation.
And while you do not know yourself
You cry “you ought!” To a nation?

φιλια-   -λoγια... when compounding words as necessarily categorised prefix and suffix: the vowels tango arguing which ought to peck the peacock of being protruding... that's not the same as the english quasi-German flirt with hyphenated compounds, e.g.: hard-working.

when phenomenons appear, there are still
anomalies, another way to say it is
with a Kantian lexicon, phenomena are
all-sweeping, placebo feelings of inclusion
and a plateau of comparative entitlements
aided by the simile of the chicken-strut
(obedient head nodding, like fans of head-banging
music, unlike the geese brigade of the *******),
cluck cluck, cluck cluck, clock in clock out,
i.e.: with phenomenon there's a unit,
a self-knowing "parasite" given the plateau of
an occurrence that's deviating from pyramids -
the Platonic idea of geometry applied to
politics and economics - this parasite is
a protesting unit, hardly recognisable by
the phenomenon of prosperity (e.g.),
know to itself, a mongrel of solipsism and
the idea of a noumenon... noumenon invoked
exclusively is a thing-in-itself, the existential
cry for the existence of the *other, something unknown
to us, and / or hardly worth knowing, given
the cinema of phenomena marring the existence
of such creatures with the success rate
of the applicability of phenomena... a noumenon
is an abstracted unitary pivot of solipsism,
it's likely to find its way into psychology's lexicon
as the ego: after all psychology loves to undermine
the affirmative onomatopoeia that are chameleon
(cha cha cha? cha melon? why not ca or ka? anyway,
you see, too many particular protruding extensions,
too many third limbs, too many traffic stoppages
in this language) skin worthy to tattoo onto himself...
noumenon are individuals invited to critique
phenomena from their comfortable status as solipsists,
the de-affirmative units (ego) of not thinking and
thinking that such and such phenomenon is worth
applause / inquiry / critique / negation;
noumenon is a measure of solipsism, a centimetre on
a ruler, given that the ruler is knowledge,
and the centimetre is an instance, recurrence,
the unexpected moment - or eureka
(hyphen, prolong the sentence, don't slip into
what ; and , emphasise, an indication for a change of
subject, or digression) - it's about putting the self
into a noumenon and thought acting as an omni-
surgical instrument to inspect it, a Swiss army knife
if you prefer... opening a can of sardines...
ego always prompts thought to be, a consistent verb,
always disengaging from nouns, retracting a noun
capacity, inverted as the usurper of nouns:
sign... oh sorry, slang language.
it's still bothersome, to practice the logic of possessing
a soul (psychology), yet denying it,
it's a self-defeating logic, to presume the study of soul,
the existence of, to later switch to the existence of
thought, and subsequent behavioural studies
whereby thought (the culprit) is the only justification
for odd behaviour... should i establish the non-existence
of a soul in man i wouldn't continue the study of
a non-existence of, that's firmly established,
but going down the hanging garden of Babylon replacing
the study of a soul (non-existent apparently, including
Nina Simone and Ella Fitzgerald) with the study of
thought and its many prompts seems strange...
why not establish a subject matter about how one
person ***** over another and ask: is there love in this
shanty town that's earth? φιλιαλoγια?
love of logic? or the logic concerning love?
well, it's hardly found on the crux, i was looking at it
with a microscope, a telescope, i got nothing
but a splinter in my eye and my tongue nailed
to an ice cube - true onomatopoeic resemblance,
not of meow or coo coo, bah o' woo L   ghh
(but of words) - deep-throat that ****, gagging of
an open mouth. i was prompted by the idea that
we're all getting richer... mm... with the shy economisation
of the arts as suggested by youth? i 'hink we won't
be anywhere worse-off in this society as we might
be better off in Congo... unless of course i write these
poems without youthful energy secure in
retirement, and pretend that gambling doesn't exist...
come to think of it, i'm more of a gambler than an artist.

here's to getting drunk and writing *******; because mozart did likewise; or said man of the following verse: shouting into a plastic bag thinking it might make a pop' sound. **** get's technical, it's basically a comma on top, akin to diacritical markings; i'll mention the **** star later.

n.b. you emphasise the pop and descend into sound, well that's chiral for emphasis otherwise reserved for italics or bold (text). just about time, when language had to become as complex as comp-sprechen, or that famous censor of oath words: &$#@!

and you will hear no song without the word allah,
and you will not hear
                will not hear
                            a word said about the tetragrammaton,
because it's so, the constructs of language
   can provide categories for the arrangement known
as the tetragrammaton,
        and when it does become apparent,
what gives meaning to thought,
   as a higher tier of what later becomes a *hegel
or the: thinking about thinking,
   and the much esteemed follow-up of what
is like a sinking ship of beggars asking for morality;
i said the word allah, because it's the most
understanding word to use when figuring out
the sudoku equivalent of a lament configuration:
so it opens...
        and so too i see what needs to be seen,
how wahhabism abhors music, and how people
are starving, to simply hear it...
             are we people who really care
to write out an onomatopoeia of an ******?
well... reverse psyche teaches us this:
  that we are indeed bound to write something more
complex than the sounds we make during ***...
animals disguise their pleasure from ***
and therefore remain gravity prone,
sinking in the re-       toward infinity,
again and again, and again - always the same...
modern saudis abhor music, wahhabism
abhors music... yet the adhan: the call to prayer...
and didn't muhammad warn against
the dajjal?
                   the polyphemus,
                   that diabetic ****** that was ibn saud?
so few curses applaud the resurrection of a name
these days so abhorrent...
                then the poetics comes in and we have
a metaphor for something already not
               properly equipped... formerly
it was a television, but now the computer screen,
and hey presto! two eyes!
                 that life would somehow turn uncomfortable,
as it turns out, it has thus happened in saudi
arabia... the killing off of music might as well
equate to a sudden dodo policy of all other birds...
   truely, the shahadan can only be pronounced
in song and in tears...
                 the tetragrammaton i can think of,
and appreciate,
    but i can't appreciate the nag hammadi library
nor the dead sea scrolls...
          my heart forbids such emotions,
for i see a valley and a shadow in it and this shadow
becoming the valley itself...
but thus sung: you walk into a catholic mass in
a church, and they're mumbling their creed,
  like it was indeed a satanic mass incantation,
believe me when i tell you that you need to
experience it: go to a polish catholic mass and hear
this mumbling, hear this cult-like status
   of reciting the creed...
  i'd rather look at a swarm of mosquitos
and hear **** all... that's how scary that thing is.
no wonder then, for all the gothic architecture,
gargoyles 'r' us... so why didn't the eskimos
**** out a horror, given we share the same harsh
environment?
                  the jew didn't have to say anything,
play me anything, he gave me something to look at,
but given that there are 3 monotheisms,
  and that re-confirms the brothers zeus hades and poseidon,
what can be done?
         just as much as what we owe to feel -
what we owe to what's to be necessarily felt...
  for me i wear the y.h.w.h. "niqab" to see past
christianity, and looking past it i listen to something
islamic... at all times: it's very human, unrealistic
to be unified, but still, once in amsterdam i met this
egyptian, and he exposed me to le trio joubran
with the song masar, i had a few beers prior
took three or four tokes from the joint,
then he put the headphones on... minutes later:
i was monged... that slang enough?
   done gone, whatever... i listened to the ****
song with my eyes closed and was consumed by shadow,
and nothing...
                    i could have been imitating a ******
addict to be honest...
   when you become so detached from the world
around you, marijuana and alcohol and really
detach you even further...
     so this pretty dutch girl was looking at me
and i have her the V-peace (not the welsh longbowman-V
about to eclipse the sun with arrows in normandy)
sign and smiled...
                     i could have linked this to a spiritual
homoeroticism, but then she smiled back and replied
with a V-peace using her hand also...
         which kinda reminds me of
watching this sasha grey video about geeking out,
and how, throughout the whole video i'm just
picturing the conversation to a james bond movie:
for your eyes only, and then start thinking
about the niqab... or something along the lines
of self-induced oppresion...
     all this "anti" dialectical "opinions for opinions' per se /
per says" (heidegger's point:
  if you live a simple life... language will have
to become complicated, you can't lead a simple
life and think your language will seem "incomprehensible",
spend a year with a cat and hear meow all
the time: you're bound to come up with some
weird punctuation, as antidote to psyche)...
   so all this anti "dialectical" persuasion lasts
for some time... beauty attracts ugly,
but then beauty turns ugly, and ugly says,
something on the lines: this thing... this reservoir
of oil in the sand? it's not water,
     it's not the water in the sea and the water in lakes
and the water in rivers and it's not rain...
you can't recycle oil...
    sasha grey was really talking about a theoretical
niqab, wasn't she? or did the host just bring up
the salem witch trials?
                 oh i'm not a convert,
   even with all the overtones that i might be,
but given that i'm not working from the concept
of the big bang but rather from φoνoς
i appreciate the word αλλαη... it's a cushion type
word for what you dare only say when lament
approaches... either that or the stupid: why me oh god!
i like that spelling even, it's like the greeks never
laugh, or what's the basis of laughter, a H...
                how would you even say that αλλæ?
like blah blah bleh with a stereotypical Transylvania
accent of vlad the **** genius?
            cos η (eta) doesn't cut into either t or a,
but into the prefix e-    which makes it a grapheme
equivalent married to epsilon (ε)!
          the **** did we inherit?
i love the argument that comes from
  i don't care about your feelings...
                i don't care what you're thinking,
so why don't you simply shut up?
                  ah the pulpits and popes akin to
urban the 2nd...
       thankfully i'm just feeding silence (break line comma        over
^,or what i like to call the white, the canvas of defeat.

^yep, there).

The snowball effect,
Connects four snowflakes,
A ballerinas tiptoes evades footsteps
On the game board,
A perfect pirouette.
The overtures prologue,
Mother tongues twisted in specific syllables,
To emphasise the divide in culture,
the closeness of nature.
The bubble in a spirit level bursts
And disrupts the axis of the world as we know it.
An Easter egg made of woven hope.
Sweet and septic,
A dangerous connection.
There's electricity in the thunder clouds,
A storms reform,
No prisoners in the matterhorns scorn.
But we must climb to reach the pinnacle of desire,
and grab the bull by its horns.
Torn between the torqiunet,
That restricts our true colours,
The blood seeps through like the Matadors tools.
Only fools would make light of those we share the earth with,
Ma whirlwind changes the landscape,
It can never be the same.
Underneath the terrain,
A lesson remains,
Statuesque,
In the mystery of history's gifts.

You think you've got what it takes green man
You're short
You're weak, your strength is only a year old
And you've been pampered by the melanin in your skin and the love around you
You think you can understand what adversity means?
The few tests of masculinity you ******* paid for left you tense and fearful when the weapons were made of plastic
When reality was there to test you, the words you should have fought against you let slide like a *****

You think you deserve a right to fight?
You may desire it, but you are too small and too stupid to fight for anything in this world
And what you desire to fight for is muddied in hypocrisy
Because democracy is built on blood and sin
A world of wolves ****** each other with claws and ***** for sheep like you
When you sheep wander into our battleground, you bleed better than us
With tears and families and a lack of skin that Darwin fought the churches to emphasise
The stupid and the sociopathic know our fight the best
Because they accept the simple truth we give them, or are willing to profit from the lie
But you just men, sheep who give up and wolves who die
You can't keep up with this

What do I say to all that?
To our history that is so muddied in the darkest greys
Bloodiest battles fought continously, so I can live under laws that I don't agree with
As much as they let me do what I want to do

I have to take the coward's way out, and defend my tribes in my ***** *** deluded little way
And despite every need to be carved out of stone as a man who is too soft to fight as hard as he wants to
That fight doesn't exist
And if it did
It wouldn't need me

the minute you write on the other side of the napkin... the fold, you get into tattooing a Braille itchiness.

the napkin is a variant of compressed wood...
it's not a piece of paper...
you could wipe you *** with a napkin,
but that's hardly considerate of your ***
being as hard-edged to do so, likewise,
with a piece of paper.

intro done, the loadage...

it's almost bewildering that we employ so
many people to talk,
but not a single person to listen -
   so many people are paid to talk
but no one is paid to listen, so the crowd moves away.
language, as poetry:
in the modern application of it, is already trying
to do the Alcatraz (summed up and staring
Clinging Eastwood Cry Baby, or Baby's got
a Burner, or Hot-Draw! **** me, that's
adventurous!)          diversion tactic (you might
still be reading this mea culpa of mea culpas
that's prescription drugging you into digging
into the classic novella)...
escaping the Alcatraz       /     straitjacket
of conforming to recognisable forms of poetry -
i say fake! to the person who uses metaphor
announcing the use of...
                 i want uninhibited poetry,
i want poetry that bumps into poetic techniques
unconditionally, strangers in queue-ball
antics on the street getting cravat or guillotine
standards for lottery...
           but conscious conformity?
                  get me jack-in-the-box to ola a hello
once more to revive Sherlock Hitchcock...
                   any phobia is atomic,
the world is created from little fears,
            emerging into the big fear: a life not lived...
but then there's an antidote to that:
       if given a miniscule life... don't fear it...
examine it... at least you can then become entertained
by theatricals ascribed to the greater lives...
or have beens.
                     i want uninhibited poetry...
when i say poetry i want opera, not graffiti...
   which is to say: being conscious - premeditating
the use of, e.g. a metaphor...
          it's not good enough, i don't want to read
poetry as recognised as poetry, or poetry
recognising itself as such, i want to see the automaton,
i want to see an art so well engraved in the
provider of such enticement as to paint
as a decorator might paint, even within the framework
of a monochromacy... the parts he misses in
covering a bleak wall of white to be redone...
again, and again...
    but what i expect of poets?
a gamble... only *one attempt... any second or third
attempt i deem incomprehensible in terms of
beginning in the thirst place... ya: thirst.
i want to see thirst: the bulging larynx more ready
to gulp water in a desert than entice saying
something, meaning the latter has no power
over conjuring an oasis, or a fatamorgana.
continued?
           but everyday usage...
applies no similar acknowledgement of orientating
grammar, to be conscious of certain words as being
nouns does suppose an obstruction for the fluidity
of language... there's the everyday fluidity of
language than transcends such emulations
      of acquiring a desirable stoppage forwarding
dogma... yet poetry is bound to a dogma of
applying distinctive orientations,
to suggest that a piece of scribbling is actually
poetry.
does one (kingly pronoun collective,
meaning with entourage) thus say:
to fall in love also equates to celebrations of
Valentine's day,
or to go to war also means: waving a bayonet?
to generally emphasise...
  man was not established with this system
of encouraged "learning" tactics...
           there's no point talking evolution
when man is stagnate, sedimentary,
upkeeper of the status quo...
                   which almost insults the man
that encoded sounds in runes...
             perhaps the rune-encoder didn't
end up encoding while donning spectacles?
the emphasis is on making language more
fluid, and therefore acceptable,
   rather than what's advertised as this
solace-space of sofa, duvans, and free-spirited
******-load of artificial smiles.
oh, mind you, artificial intelligence has
not emotion, a bit like a woman on her
first extra terrestrial date...
                    with honing: having no
emotion means there's no conscience -
meaning crafting an artificial intelligence has
not ontological basin in man -
as man has no ontology to begin with...
  just as god as no ontology to begin with,
since we're already in his deviation from
the beggars' question: to no greater pleasure
has it been to create something without
man's thought in it.
     but not only is traditional poetry respected,
as in stressing an awareness of metaphor
or pun, as a sense of desirable technique
with even more desired identifiers...
      but then language per se, can't see
why someone writing a rubric sentence
need to grammatically categorise and give unto
their use of language a miser dissector...
        for example: the tradition of writing letters,
reduced to a pseudo-postcard form
         of the email...
              the formal begins with: dear ms. judy
the informal begins with: hey yoyo!
                    there's no dear ms. smith
(or the careless mrs. smith -
get on with it, the waltz and ballroom died
   when we groped under too many chandeliers
and gagged for the *******'s reproach
to dating) -
            as with the lateral diversion:
the internet not see as a possible place of
thinking has reduced the possibility of expressing
thought, into a conglomerate
         of seemingly necessary conversationism.
i'm not talking: i always thought that a white
page, whether in shrunk oaken or pixelated
and written upon: was the double-standard
expression of surrender...
formal letter writing was replaced by robots...
all the letters we ever get (via email)
are informal...
       addressed to no one exactly,
beginning with hi, hi, hello...
               give us a ******* handshake
rather than this pristine tofugu...
yep, that, and then ******... but that's how it
avalanches... you write on a napkin on
one of the sides, you turn it over
and then you realise you tattooed something
akin to Braille onto it.

not to mention the notes,
    who the hell enthrones a sadist
on what's a hyperventilating compass
......... and .
                 .
                 .
                 .
                 .
                 .
                 .
                 .
                 .               and .     .     .
                                        .     .     .
                                        .     .     . -
what's called conceptualisation, or
   the timessu doku* no. 8860, dubbed:
finding the first 5...
     fractions 9 / 9  and then 81...
it's an eye-sore, maybe it should be encapsulated
by .  .  .  .  .  .  .  .  .
    but i left it it at
.  .  .  .  .  6  7  .  .
.  7  .  8  .  9  4  3  6
.  .  6  .  3  .  8  .  .
1  .  .  .  9  .  5  6  7
6  5  9  4  7  1  2  8  3               rectangles and squares problem
3  2  7  6  5  8  1  9  4                 (imitating a drunk
7  .  3  .  6  .  9  4  .                   watching the television with only
4  6  .  9  8  .  x  .  2                  one eye open to stop the carousel;
.  9  2  .  4  .  6  7  .                              ­  i.e. dajjal watching dajjal)

   that x in there? that's important, i think i can't
solve no. 8860 (i.e. finding the first 5)
because of it...
    and it's on paper, rather than on a digital
format, and that's hard to correct / revise /
solve...
                not to mention the ***** working its
purpose...  
                but such is the joy of being able to do something
that doesn't require crosswords...
  can't do them to save my life...
             i knew a guy once that could
do samurai su doku...
            i have to be content with this tier...
getting an eye-check...
          it's the spacing and 1 2 3 4 5 6 7 8 9
   arranged into a

1
2
3
4
5
6
7
8
9      2      3      8      7      4     3      5     1       (e.g.)

so working from that, it's just as much as
knowing for to spell... it's optically infuririating
to have to compensate on something, somewhere...
some people just see clear spacing
and can do these puzzles quickly...
   it feels hard to attack humanism with science,
the whole thing is hard to figure out,
let alone no. 8860 (finding the 1st 5)...

unless you can compensate listening to the offspring's
debut album, no hero and black magic...
  but it really is a problem of spacing...

     i used the punctuation mark of a dot to emphasise
the digital canvas / pixel accuracy dynamic...
    
               how do you start to conjure these puzzles
into completion? should i put a ruler to the computer screen?
      but that x in the "spelling" of no. 8860
         undid me... just lost the heart to complete...
took me too long to insert anything after that...
and i didn't have a second copy, there was
only one 29th of feb. 2017 coming my way...
  
the best i could do is to write a poem counter
to what the theory states... i.e. not all poems
are written for a need of abandon... most of the time
it's a crossword, or as this case proves: a su doku.

           if poems are ever abandoned, it's to stress a concern
for tomorrow,
                     i really can't imagine myself passing
off a clean paragraph that composes a book,
that a book is composed of,
               i can't really imagine a better form
of punctuation than poetry,
           poetry to me is symbiotic with punctuation,
as in: you might just get to write another
poem / colon the next day...

              or like now... i hate that all these columns
of culture are pristine... then you get to read
the biographic sketch that gave such and such a book
to arise on in no man's land...
   like the koran and aisha...

         ******, i partied when there was no party,
i was found singing on a windowsill when no one else
was singing but a sparrow in the night,
the most beautiful thing i ever managed to see
was an insomniac crow, flying while the skies of
england were overcast... a kestrel on my fence,
a robin with a full orange bust fidgeting queer...
and yes, those parkinson sparrows...
   i looked at more birds than might allow me a stipend
to reach the age of 50... and have a saturday newspaper
magazine column actually giving a ****...

   i do not that ignition wasn't the debute album,
but given the sales, it was treated as such...

             i like the fact that poetry entertains sloppy...
   *****, raw, ***...
                    i could never rewrite or revise or edit
this *******, i'd loße my nerve...
                                     i *******... squiggly lines
and random patterns to antithesis phenomenons
that keep repeating themselves...
             i can't believe that writers spend 3 years
on a book, to then give it to critical hyenas...
this carcasss is heading straight down route s. beckett's
watt and j. joyce's finnegans wake,
and ezra pound's cantos...
             this bit of me is not heading for
a bestseller status... is down route per se...
                   because that's what i care, about...
that i am imitating darwinism's natural selection...
well... let's call it a ponce's selection
  and more snobs than screaming beatlemania fans;
or what the concept of persisting royalty does
to you...
            you half **** a refined talk of a    p h via t h
into thy, thigh         or veering into     thesp
                       ian,               or the said much more quickly:
finicky ***** of phonetic arithmetic.

Did you know that gold is dug and washed out of muck?
You miss a lot attaching so many strings
for the so many terms attached and conditions
just limit the talent you are likely to capture
As an intending or a yet to be business consultant
I honestly believe the inefficiency we see is resultant
and consequent to the boxes we create
thereby numbing the personnel our recruiting and selection curates
Don't get me wrong on this but even if I had a first class
I would not find joy being an employee to such an employer
seldom do our results show our capability
especially in the developing nations where our results
are usually subject to lots of questions
What I mean is I would grudgingly take up such jobs
where aspects like a master's degree is an added advantage
for to me I believe in the semi skilled, degrees and diplomas being vintage
this being the main reason I might take up a job to manage the HR
to prove to the world that today's academia doesn't define who we are
I'm not saying that if a company hires me I'll hire failures
No, all I'm saying is sometimes extremes are dangerous
like Wilde put it, too much is as bad as too little
Let's put away these archaic and very conservative measures
and emphasise aspects like talent and character strength
Not every good medical student obviously becomes a good surgeon
not even do good literature scholars turn into good authors or poets
We have to start realising that some go to places to survive
we seldom choose the places we end up in but endure to be alive
We need to be better employers to find better employees
in my company, the papers will not be as vital
as the man in the suit, let's not take life as a bible
especially in the business world where things often go strange
those greater than us adopted the basics for that was their change
we shouldn't keep walking in their footprints
We can find jungles and propagate our own path
leave our prints and set pace for the fresh dynamo to power generations
A million employers are going to miss me because of such rigidity
I've been a mediocre business student and I admit
I could not hit the pinnacle of preset peak for I had my limits
but I'm going to be one of the greatest transformers of my time
You can take this for pride or just another rhyme
someday these so called egocentric first class employers
will hire me to enlighten their classic fraternity
on the different ways we the open minded weave
our learned with the inborn to function as an entity
so to my would be employers... do not fall for the anchor heavy vitaes
neither should you be fooled by the experienced suits and ties
I'll come to knock clad in my miserable second hand shirt
with dusty shoes, with my collar sweat marred with dirt
but beware there's always more to every story than told by the cover
don't be hood winked to go picking like you'd choose a lover
to leave out the seemingly ugly asset for **** liabilities
cause those predefined sample spaces omit so much abilities
destroy the box,set no boundaries to let every sailor try out their luck
business is a Sea with so much in the uncharted to see
we risk fazing out boundaries but the essence of business is ecstasy
we ain't experienced but carry a flame denied to some used embers
whose blaze can fuel success in the egoistic business chambers
We can't stick to ancien methodologies to castrate the bull
for we can set up our own modern and operational dominion
no hard feelings, I'm just an enthusiast airing his opinion
Peace, straight outta the Makerere business school.

It is a perfectly formed teardrop;
or the gold of an autumnal leaf;
it is the first apple or peach blossom
of spring.

It is the sight of a rainbow to a child;
or the sight of the child itself
observing that rainbow
for the first time.

A miracle is the sight of a loved one
beside me when I awake.
It is her hand in mine
to still that ache.

Yet Hume would have us believe
that miracles do violate
the laws of nature.
O, so not so!

For me the laws of nature
are the miracle.
To know that season follows season
is the awe.

And those who despise reason
to favour faith
are merely
self-deluded fools.

Not for me the accusation
of the psalm that would
make me a fool for
disbelieving god.

That I abandon faith
and choose instead
to reason with my brain
thus verifies belief.

It is as hard for the believer
to abandon a belief
as for a man of science
to discard old laws.

But moral values are self-evident.
I do not need an act of faith
to emphasise
A moral code.

It is enough to know that I am one
with all humankind and
whatever touches another,
touches also me.

I seek no vague salvation;
no sweetmeat in the sky;
it is enough to hold most dear
what is simply “I”.

We’ve wandered far from miracles,
from acts of faith and such,
but life itself’s miraculous
e’en to a worthless wretch.

I wish to paint you with words,
And write about you with feelings
But I fail to depict the depth that exists in your eyes.
So, I capture the moment by photographing every move that you make.
I scrutinize every small detail
Of how you laugh and how you smile
How the colour of the sun reflects in your eyes,
How the smell of coffee gets you happy and enticed.
How the sound of my voice makes you feel alive.
I photograph you in black and white;
To bring forth the kind soul that lies inside
I study every aspect in your life,
As if you're the subject of my never ending strife
I illustrate your passion in perfect light,
Emphasise on how your breath hitches as you sing along your favourite lines..
I trace the image with quivering hands and critical eyes
Admiring your toothy grin and your crazy hairstyle.
I compile the pictures and bring the masterpiece to life,
Leave you with a Thank You note without saying Goodbye.
For you weren't just my temporary muse or a beautiful yet fleeting view in sight
You were the eternal moment of ethereal bliss forever stored in my mind.

If I may be allowed to be rhetorical
In matters spiritual or metaphorical,
I have a little parable to tell.

And if permitted to wax somewhat lyrical
I’d count it no less than a flaming miracle
If my words chanced to cast a magic spell.

You make the sunshine
When clouds fill the sky;
You make the flowers bloom
Where deserts are dry;
You expand my mind
With thoughts dear and clear;
And fill up my heart
Whenever you’re near.

And now if I may choose to be empirical
And build a dream that’s simply atmospherical,
To emphasise the points you’ve overheard.

They’re really not the least bit evangelical
Or even meant to drive someone hysterical,
As long as you’re both shaken up and stirred.

You light up my face
Whenever you smile;
To see it I’d walk
Full many a mile.
I’d go anywhere
For beauty so fair;
Honesty so true,
Fidelity rare.

So, summing up a treatise categorical,
And drawing to a close this tale historical
I’ll add one chorus to this final word.

In case for you it has been too intense, I call
Attention to much other verse nonsensical
And lyrics that are equally absurd.

My verses avoid
June rhyming with moon;
Search much as you will
You’ll not find a “spoon”.
And hard as you try
You simply won’t swoon
Over a songster
Whose style is to croon.

My task completed has not been incandescent
But is rather now revealed as evanescent.
And certainly it was not made of chrome.

So set aside these verses allegorical;
I hope you didn’t seek the Delphic oracle;
It’s time to pack up and to just go home.

Let's take a few days I said
Day one those eyes still impose in memory
But space is good to know what's what
Gives me a chance to write how I feel

There's a mess of feelings around you
As you clatter my routine out of shape
Change the flavour of the tea in my cup
And insist on a stretch of the legs
You know I want too

This relationship is a fresh scent in the air, true
A tangling of warm fun and playfulness
Along with deeper dissection as we pick apart our pasts
But there's something I wonder about sometimes
Something that worries me

I've kept the house of cards growing through paper triangles
Wondering whether it would ever bubble into gold
When you wander in the way of everything
I'm ready to drop it all for lightest brush of skin
Yet the house should grow for you

You seem to guide my ambition
There was a desire before, a boom and bust emotion
But you lull it into consistency, emphasise it's value
Something that becomes all the more daunting
If it's something I fail

As I try to temper the teenager who wants to touch you
With the steadfast soldier, whose desire it is to build our castle
I start to see the balance, a tranquility to my mirror image
One that you've sent exciting and scary ripples through

Such change you've made, and we've only just started
Where have you been?

You would stare if I were beautiful

but I offend your eyes
sideways glances emphasise
how afraid you are to look
confront that fear head on
people like me even exist

you sympathise of course
goes without saying, terrible
must be awful to live with

then you check your fingers
and toes, see how perfect they are
and move on, no more ugliness today
to spoil your mood.

I think I was lost,
The moment I laid eyes on you.
How very embarrassing.
I even,
For a time,
Tried to sing like you, Talk like you,
Imitated your slight french accent.
For six years, I watched you-
Not like a creeper.
Ok,
Probably like an utter creeper.
I didn't just watch, though,
We did converse. Many times,
Through the years.
Those exchanges mainly served to emphasise
Your other-ness, to show to me
That manic pixie dream-girl quality of yours,
Those hyper-widened large blue eyes,
Which seemed always a mask, but perhaps,
You were just that much the woodland creature.
The Luna to my Hermione,
Or the Persephone to my Hades...?
I carried hope, once.
Completely unfounded, mind,
But in quiet moments,
As I looked at you, like Peter Pan at Mrs Darling,
I thought I glimpsed a kiss in the corner of your mouth,
And was that my name on it?
Perhaps I am foolish still-
Picking over past interactions, for a thread-
To pull on, that might lead me-
To some hidden aspect of you, which may,
Or may not exist.
But you still go around like there's something missing from your life,
And sometimes,
I think of those old impressions, and for a moment I fancy-
It might be me.

I think stars have heard more secrets
Than any pair of human ears,
They’re trusted with our troubles
And are the guards of all of fears.
Perhaps we share with them our sorrows
For they too have known the night,
Yet they’ve learnt to let the darkness
Simply emphasise their light…!

Tenderly, don't rush just pick up there book and read it to me. Now straddle the chair let your hair hang down, cmon babe let me see no frown
Wiggle that ***, squirm on that seat, **** don't stop reading I'm feeling the heat, emphasise those words when they get hot, yeah you know it, take off that top
Don't start crying coz ***** you ain't going home, this night is for me and we're all alone, I ******* paid you, you ***** ***** now read for me while I lock the door.
Don't worry sweet thing, this belts not for you, I'm just gonna shoot up, y'know get in the mood, help myself get all hard and tight, mmmmm, those words you make sound right. I SAID READ ***** now don't make me end I'll squeeze those **** till you will bend, now make those words sing to me or I'll have to carve you a new set of lines on that soft skin.
******* it honey your bringing me off, read ******* until I'm done, and then I'll let you go out with a bang as I chop at your heart and you lay slain.