Centers

The need for a toilet seat, as the inherited one had broken through the ring, a vagina dentata chewing white thighs as we read Vanity Fair and Vogue. Being out on a busy holiday Saturday, a Halloween weekend. Burbank, full of obtuse angles, lost anger, slow bourgeois egresses, signs monumental like headstones read from the transcendental passage of the interstate. The nerves of shaved teenagers and glutted federal spending, places to eat meat and salt and caffeine.

Once inside the home center, I fell under its bureaucratic spell of aimless reconstruction, its smooth concrete floors, the long rows of practical and potential necessity, the strange dull pomp of the associates, goateed in available denim and hybrid boots, the women a sexual real in hazel, names like monica or liza, soft flanks and small parcels of jewelry beneath the collar of shirts to wear to work. Cut dowels, bum couples, the everywhere infinity of improvement, the factor of some plan to be. It is taken at a languid pace, for no one really wants to leave here and go back. I wait at the counter alone as a tall man, who happened to be covering the register, goes back through aisles 34-37 to find a price tag. The small print on his own tag read delivery services since 2003. The girl across the way spoke up slightly and told me there was coffee. I said I had had too much already. There’s chocolate, she offered. Deferred. Hot chocolate, too, is what I mean. No thank you.

As I return to echo park along the interstate, a car lies dead and reversed at the freeway's end. The state troopers stand in boots and put on black latex gloves. Down Alvarado and Glendale, where traffic snarls at this arthritic pinion, small buckeyed men sell baggies of spiced and sugared fruit from coolers set in the shade of scrub pines rawboned with odd bleached trash. We all wait there like bulls with any pedestrians to not be noticed. On Saturday, the division of wealth begins to feel ever more abstract and dangerous. Left alone with anything but our own errands and children, there is no one else to see. No one but this immediate group of friends to share this afternoon. There will never be anything but what we can afford, or some worse maintenance. No sudden bird come to the window brightly and breathing the violence of something entirely desired.

Logical Investigations

Listed are these remanipulations.

Due to a knowledge of reality-construction (IKONOKLAST PANZERISM), the incomplete outline-construction in the drafting technique, the construction of this next style is concluded as an educational technique, (JEWELRYSM) or the DISCRETIONISM or JURYISM.

The NYMPHISM is a practice that based on my studies are the growing baby-tanks. NYMPHISM shows the only technique of WILD STYLISMS with some discipline and goal. Other styles and/or GOTHIC FUTURISM include Dimensional map techniques, BUBBLE-style techniques that deal with elements of commercial calligraphy.

All-conceived WILD STYLISMS in any plan of operations whether for military purposes or not will advance in drawing-technique to a PANZERISM-style technique on the letter’s structure, masterpieces and pieces in and on any medium does not include scenery. Any masterpiece or piece that has a crack in its outlined structure techniques according to PANZERISM-technique has been fired upon and hit, evidence is cracks a factual damage-symbol in anything that deals with art.

CEREMBRIC NEUTRON HARPOON (Thought Lance) holds complete thought-processes to constructions and launches outline that can construct any shape energy it wants to construct in any dimension of physical magnetics. Several remanipulators such as dimensional doors, dimension cracks. BOMBERISM: Construction flight base is on the cipher, which flies in a spiral cipher. Included in the map and maps are conscious design-stars (misplaced dimensions) the actual firing of electromagnetic black-lights (implosion) and bio-magnetic pyramids. Dimensional cracks: the travel of them will lead to other dimensions.

Since these symbols and all symbols are drawn, infinity’s separation from all symbols must be shown through drawing. The only proof of such a separation of the infinity would be the understanding by the majority of the planetary peers. There is no other way. These pages are on the evolution of the very outline of the universal letter-structure. Until this is read and understood the very essence of the formations existing slanguages science and universal letter symbol outlined structure could and will never be understood, placed or used in an ism.

The mechanisms of change for new institutionalists revolve around three types of pressure: coercive, mimetic, or normative. More recently, these pressures have been thought of not as mechanisms or forces of change, but rather as 'pillars' on which institutions are built and which should be examined both independently and jointly.

solidarity and the object

What is this thing thinking that is different from experience? Is it ethics? This is some (adverb) thinking. What can we say writing with no voice as voice. We think we are making an elaborate way or plea not not be read.

Why is writing about a sound of popular music different than a subject to the event of (the historical experience) of the sound of the song of the subaltern feminine: cultural jouissance radiating from structural antagonisms of the non-existent antonymic entity, namely that society doesn’t as such exist. The birth of metaphysics and fantasy and ideology: what Other as the basic moment of what do Others Enjoy.

Music Vol. I

One should be able to write an unsentimental genealogy of the phenomena known as head-banging. It would begin, presumably, as a rudimentary form of dance, especially associated with proto-heavy metal bands such as Black Sabbath and Led Zeppelin. It would seem to be marked by a certain nervous masculine intensity, perhaps even reaction against the fashions of spontaneous dance associated with the development of rock and roll culture: the jerky rhythms of early teen beat dancers, the overwhelmed screaming of the teenage mania girl, the druggy spirals and freak moves of the so-called hippies. As a movement of instrumentalists, the headbang is style of performance that accentuates a cerebral rhythm of punishing movement, concentration, and quasi-religious neophytism. The phallus of the guitar is sublimated into a kind of spectacle of genuflection to the ritual of sound; a sound pushed to such sublime extremes of volume via motifs of almost brutal simplicity and repetition. The religious elements of this dance need not belabored, however prevalent the reactionary themes of Anglo-American Satanism are associated with the style. That said, the eyes are hooded in a cloak of hair and the body is still. The concussive pain of the dance perhaps its own high, something akin to huffing glue. It is a Pavlovian movement of triggered response like teenage erections and bodily shame, zombie-like quadrilles of judgment, beavisboys with overgrown heads and puny bodies.

It should be further suggested, given the framework here, that the antecedents of headbanging be pursued in musical styles and subcultures marked by a compulsive rhythmic intensity and sublimated sexual frustration. Perhaps a true bastard constellation would trace the phenomenon to the development of early techno-dance subcultures. Here we could begin by properly flattening the correspondence of two mutations qua mutations: hair metal and rave culture.

The term "headbanger" was coined during Led Zeppelin's first US tour in 1969. During a show at the Boston Tea Party, audience members in the first row were banging their heads against the stage in rhythm with the music.

Lemmy from Motörhead, however, said in an interview on the documentary The Decline of Western Civilization II: The Metal Years, that the term "Headbanger" may have originated in the band's name, as in "Motorheadbanger".

Ian Gillan, frontman of Deep Purple, when asked if he invented headbanging he said, "That’s a definite possibility".