A Nursery Limerick for Donald Trump

There once was a wetback from Juarez
who could tell you where all of the whores is (shrug)
When asked where they were
he shrugged and he swore,
There's D.C. and you know where the door is.

All your Tea Party self-abuse in one stupid limerick.  It's a gift, I tell you.

There's a huge risk of getting so enamored of the musical technology here in that it winds up in a death spiral of endless creativity ... which doesn't make anything.  Each cool new technological trick leads to another one which must be explored before laying anything real down.

That kind of technological jerkfest happened previously when my garage with the Mystery Lady was for two cars and it was stacked with equipment but zero cars.  What's the move of a superior mind at that point ... yah, get divorced and lose it all.  I tell you emphatically, the Mystery Lady did not take it.

Note:  my thinking has always been what good is a damn car if it can't handle the weather.  That philosophy is not so good when it comes to getting the snow and it sucks boulders when it comes to scraping ice of them.  I miss snow like a dental root canal.

One thing left out of the MIDI geekfest of yesterday is the Opcode Studio 3 is not capable of the full gamut of expression in the dream because it doesn't have enough ports to support the lights controller, keyboard synth or hopefully-working-someday Roland GR-20 guitar synth.  It does have enough to support the three devices of primary interest:  two Boss RC-50 loopers and one Boss DR-880 drum machine.

If the anticipated result of linking the loopers does not pan to my fullest hope then the next move is to switch them out and use 'unknown something' to send MIDI from the guitar to the lights controller instead.  That could be something out of every musical fantasy dream I have ever had.  When each note can serve, potentially, as a MIDI trigger the results are potentially devastatingly cool.  That's an extreme and more than likely impossible because it requires a lights configuration patch for every note on the fingerboard.  No way that's happenin' but there is huge potential nevertheless.

We did cool things, the Mystery Lady and I, because the technological marvel in the garage was used for some of my earliest bigger stage gigs with the Mystery Lady beside me.  My experience was still not mature enough to bring all the guns to fire at once but it was hugely fulfilling anyway.  It comes with the standard hazard of any RL stage gig and it's the same reaction as tootin' a line from the Snow Queen:  the only thing you want is to do it again.  The Snow Queen kills life whereas the stage makes it real.

It's one of the most bizarre aspects of life for me as I was terrified of a stage, being somewhat of a pathologically-shy individual, but after going out there I found it's like going home.  There isn't any need to act anything because this is it and where it all happens ... or it fookin' doesn't if you suck.  Everything flipped altogether and the stage is comfortable whereas it's everything else which is not.

I thought I would forget all my songs and the long-term irony in that is it was never necessary to memorize them anyway because my dominant thought for years has been memorizing music detracts from the musical reality and I must not do it.

All that rambling from one twisted and infinitely stupid limerick ... well ...