It ain't clickbait as I can do it ... what's more I can show you. (YouTube: "Hey Baby - Lasers")
In a concert by The Who, not the one in which the kids were killed, Lotho and I were taking in the show and blasted all to hell on who knows what but were so completely diggin' it.
This was back when Daltry was beautiful and he really knew how to play it with the long golden tresses, and looking like an Olympian god ... blah de blah ... but ... he could also shoot lasers out of his head.
In one part of the show, there were green lasers coming up from stage level and shooting to the ceiling. From where we were standing, it looked square on that these lasers were coming out of his head. Of all the Messianic poses you can strike on the stage, that one is really magnificent.
Then I noticed in the latest video, hey, that guy is shootin' lasers out of his fookin' head. This seriously was not planned; I just thought that perspective for the camera would look cool because it emphasizes what my hands are doing. The Messianic aspect was a surprise after I watched it. (YouTube: "Hey Baby - Lasers")
The technique in the video is obvious when you see it. The camera is below waist level and points up toward the laser rack with me in-between. I knew there would be some kind of silhouette effect but I really didn't know what would come of it. Next thing I know, I'm looking at the Second Coming of Fookin' Silas. Fark. Damned if that ain't some stoner bliss. Sometimes people would say, 'Bring back Orange Sunshine because I want to be God again' ... well ... apparently you still can (larfs).
There is more than stoner whizbang to this, much as I love stoner whizbang, but there is deliberate purpose to overwhelming the visuals, other than it being coolest thing I can possibly imagine doing. The individual musician disappears more and more and, it's my hope, the music and the light merge to make the message. For my view of it, the me of it is not important and distracts from the perception of what I am trying to say.
In one of the lines I used last night, it went, 'you can be everywhere at once' and this refers to a chronosynclastic infundibulum which is being 'unstuck in time' as with Billy Pilgrim in "Slaughterhouse Five." You can be anywhere in your life at once. In the story, Vonnegut goes, naturally, much beyond that but you already know the truth of being anywhere in your life because we live in memories and dreams all the time.
From that comes, well, is it real ... but ... that gets all existential with, well, is anything real. No need to waste a perfectly good buzz on that, tho. It took too long to clean this skanky pipe.
The main deal is music and self which I believe is important for me but not for you as it really should not matter who does it ... except to me because you come back if hopefully you liked something about it. However, for the performance it's a Zen thing to me in which I must disappear for the music to live fully and unencumbered by anything.
(Ed: you think you're fookin' Hendrix or something?)
We can blow right past the poser stuff. After all these years, whatever I'm doing is me and I'd be proud if some of it sounds like Hendrix; I just don't want to do the same thing he did, even if I could.
The Bluesman tells you to 'take it somewhere beyond' and I do take that to mean 'beyond self.'
Maybe it's over-thinking it but I want real depth to "The End of the World in Fort Worth" and that's why it takes so long. Music is the solace, the spirit, the Sanctuary and my view is crossing the Rainbow Bridge is beyond self and is beyond death. In a chronosynclastic infundibulum, time doesn't matter because you can see anywhere in your life at once and be there. You do that anyway and it's there 'being there' which is a tad tricky. That's what I propose the Rainbow Bridge means. We can't do it from here but they can do it from there. From over there, they can be anywhere and therefore with us now. (WIKI: "Sirens of Titan" - Kurt Vonnegut)
You know there are people around you and you can feel them. We have no rules for this but rather it's the spirit presence, whatever that may mean. We don't know what it means, we feel it, tho.
What's bugging you is whether you have to die to get there but I damn sure would not be playing it if I thought that were true. The Rainbow Bridge crosses to a state of consciousness and awareness and, in my view, has little to death with death. It's only through life we can appreciate it so any morbidity aspect is (cough) soundly rejected. It's regrettable that association exists because crossing a rainbow is one of our greatest fantasies. There's a pot o' gold over there, don't you know.
You damn sure want that gold in your greedy little hands right now so don't even be telling me this is about death because I ain't seen a dead man tossing over any gold coins in the liquor store lately.
So that Rainbow Bridge extends to "The End of the World in Fort Worth" because people, cars, whatever are vaporizing all over downtown. However, the Rockhouse is the Sanctuary where you will be safe and secure. Maybe it's a spiritual tesseract in multiple dimensions and which is much more than it seems. This isn't dead or alive because awareness comes however it will and this is Schrödinger's Cat but we're not apologetic because it fits. Whether it's you or me makes no difference because we don't even know if the fookin' cat is alive inside the box.
The concept feels like it has the rounded continuity I want. Therefore ... shoot it.
That may not happen tonight because there's something else I want to try. You see, I haven't ever yet set myself afire and I think that would be one splendid trick on a stage.
Yep, really must try that one. If it works, video later.
In a concert by The Who, not the one in which the kids were killed, Lotho and I were taking in the show and blasted all to hell on who knows what but were so completely diggin' it.
This was back when Daltry was beautiful and he really knew how to play it with the long golden tresses, and looking like an Olympian god ... blah de blah ... but ... he could also shoot lasers out of his head.
In one part of the show, there were green lasers coming up from stage level and shooting to the ceiling. From where we were standing, it looked square on that these lasers were coming out of his head. Of all the Messianic poses you can strike on the stage, that one is really magnificent.
Then I noticed in the latest video, hey, that guy is shootin' lasers out of his fookin' head. This seriously was not planned; I just thought that perspective for the camera would look cool because it emphasizes what my hands are doing. The Messianic aspect was a surprise after I watched it. (YouTube: "Hey Baby - Lasers")
The technique in the video is obvious when you see it. The camera is below waist level and points up toward the laser rack with me in-between. I knew there would be some kind of silhouette effect but I really didn't know what would come of it. Next thing I know, I'm looking at the Second Coming of Fookin' Silas. Fark. Damned if that ain't some stoner bliss. Sometimes people would say, 'Bring back Orange Sunshine because I want to be God again' ... well ... apparently you still can (larfs).
There is more than stoner whizbang to this, much as I love stoner whizbang, but there is deliberate purpose to overwhelming the visuals, other than it being coolest thing I can possibly imagine doing. The individual musician disappears more and more and, it's my hope, the music and the light merge to make the message. For my view of it, the me of it is not important and distracts from the perception of what I am trying to say.
In one of the lines I used last night, it went, 'you can be everywhere at once' and this refers to a chronosynclastic infundibulum which is being 'unstuck in time' as with Billy Pilgrim in "Slaughterhouse Five." You can be anywhere in your life at once. In the story, Vonnegut goes, naturally, much beyond that but you already know the truth of being anywhere in your life because we live in memories and dreams all the time.
From that comes, well, is it real ... but ... that gets all existential with, well, is anything real. No need to waste a perfectly good buzz on that, tho. It took too long to clean this skanky pipe.
The main deal is music and self which I believe is important for me but not for you as it really should not matter who does it ... except to me because you come back if hopefully you liked something about it. However, for the performance it's a Zen thing to me in which I must disappear for the music to live fully and unencumbered by anything.
(Ed: you think you're fookin' Hendrix or something?)
We can blow right past the poser stuff. After all these years, whatever I'm doing is me and I'd be proud if some of it sounds like Hendrix; I just don't want to do the same thing he did, even if I could.
The Bluesman tells you to 'take it somewhere beyond' and I do take that to mean 'beyond self.'
Maybe it's over-thinking it but I want real depth to "The End of the World in Fort Worth" and that's why it takes so long. Music is the solace, the spirit, the Sanctuary and my view is crossing the Rainbow Bridge is beyond self and is beyond death. In a chronosynclastic infundibulum, time doesn't matter because you can see anywhere in your life at once and be there. You do that anyway and it's there 'being there' which is a tad tricky. That's what I propose the Rainbow Bridge means. We can't do it from here but they can do it from there. From over there, they can be anywhere and therefore with us now. (WIKI: "Sirens of Titan" - Kurt Vonnegut)
You know there are people around you and you can feel them. We have no rules for this but rather it's the spirit presence, whatever that may mean. We don't know what it means, we feel it, tho.
What's bugging you is whether you have to die to get there but I damn sure would not be playing it if I thought that were true. The Rainbow Bridge crosses to a state of consciousness and awareness and, in my view, has little to death with death. It's only through life we can appreciate it so any morbidity aspect is (cough) soundly rejected. It's regrettable that association exists because crossing a rainbow is one of our greatest fantasies. There's a pot o' gold over there, don't you know.
You damn sure want that gold in your greedy little hands right now so don't even be telling me this is about death because I ain't seen a dead man tossing over any gold coins in the liquor store lately.
So that Rainbow Bridge extends to "The End of the World in Fort Worth" because people, cars, whatever are vaporizing all over downtown. However, the Rockhouse is the Sanctuary where you will be safe and secure. Maybe it's a spiritual tesseract in multiple dimensions and which is much more than it seems. This isn't dead or alive because awareness comes however it will and this is Schrödinger's Cat but we're not apologetic because it fits. Whether it's you or me makes no difference because we don't even know if the fookin' cat is alive inside the box.
The concept feels like it has the rounded continuity I want. Therefore ... shoot it.
That may not happen tonight because there's something else I want to try. You see, I haven't ever yet set myself afire and I think that would be one splendid trick on a stage.
Yep, really must try that one. If it works, video later.
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