1. play the music 2. look at photos 3. play again if music stops
Adult. - Don't Talk (redux) pressed in 2005
sleepless days and sleepless nights pick up the phone, i'll be alright your mother wouldn't like it hearing you talk that way really? i have nothing to say so i'll just listen to you breathe...
sleepless days and sleepless nights pick up the phone, i'll be alright your mother wouldn't like it hearing you talk that way really? i have nothing to say so i'll just listen to you breathe...
i'll listen to you breathe ah listen to you breathe ah'll listen to breathe
sleepless days and sleepless nights sleepless days and sleepless nights sleepless days and sleepless nights sleepless days and sleepless nights
sleepless days and sleepless nights pick up the phone, i'll be alright your mother wouldn't like it hearing you talk that way really? i have nothing to say so i'll just listen to you breathe...
ah listen to you breathe
don't talk, just listen don't talk, just listen don't talk, just listen don't talk, just listen
We used to read T.S. Eliot aloud. For utterly different reasons, we were among his admirers. Time the destroyer is time the preserver - we loved those impressive contradictions of Eliot's, that authoritative way he had of stating a paradox. Perhaps too tidy, too controlled? Yet he did know something about destroying and preserving; and about time.
Judith said she read Eliot because he understood how the sacred resides in time, is time. For me, reading his work is like trying to intercept a butterfly. It comes so close you can see its markings, the luminous wings, and then as you extend a hand it's gone - hidden among other flickering objects of consciousness. There's a pleasure in this approximation, I suppose, and even in the failure to apprehend. I don't mind the obscurity of Eliot's verse. (What good after all, is an insect pinned on velvet, gorgeous but dead?) - Martha Cooley (cut)
"For many women, adolescence is exciting - they're really interested in boys and sex. But gradually they lose interest; they're not so keen to open their legs or to get on their knees and wiggle their ass. They're looking for a tender relationship they never will find, for a passion they're no longer capable of feeling. Thus they begin the difficult years." - Michel Houellebecq
just then the hunters came out of the woods following the wolves' trail and shooting as they went
it's that sexuality you're just too young for me it's that sexuality you're just too young for me it's that sexuality (sexuality) it's just too young for me it's that sexuality it's just too young for me
it's that sexuality now you know you're too young for me you try to make me smile and you do for awhile but that, that won't be enough you see (it's just too young) it's that sexuality you're just too young for me
it's that sexuality (sexuality) you're just too young for me it's that sexuality you're just too young for me it's that sexuality
it's that sexuality you're just too young for me you see, you're just too young for me it's that sexuality you're just too young for me you're just too young it's that sexuality
it's that sexuality you're just too young for me it's that sexuality you're just too young for me it's that sexuality
you're tooo young it's that sexuality you're just too young for me it's that sexuality (you're just too young for me)
"After copulation, all animals are sad - so the ancient Romans used to say.
Apart from foxes, I would have added. And apart from women. I knew that for certain now. I don't mean to say that women are animals. Quite the contrary - men are much closer to the animals in every respect: the smells they give off and the sounds they make, their type of physicality and the methods they use to fight for personal happiness (not to mention what they actually think of as happiness.). But the ancient Roman who described his own mood after the act of love in metaphorical terms was evidently such an entirely organic sex-chauvinist that he simply failed to take women into account, and that means I have to restore justice.
Generally speaking, there could be at least four explanations for this saying: 1) the Romans didn't think woman was even an animal 2) the Romans thought woman was an animal, but they copulated with her in a way that really did make her sad (for instance, Suetonius tells us that the law forbade the killing of virgins by strangulation, and the executioner used to ravish them before the execution - how could you help feeling sad?). 3) the Romans didn't think woman was an animal, they assumed only man was. For this noble view of things, the Romans could be forgiven a great deal - apart, of course, from those foul-ups of theirs with virgins and strangulation. 4) the Romans had no penchant for either woman or metaphor, but they did for livestock cattle and poultry, who did not reciprocate and were unable to conceal their feelings." - Victor Pelevin (cut)
1. play the music 2. look at photos 3. play again if music stops
Patrick Cowley - Sea Hunt pressed in 1981
She listened because she knew that he was going back over it, looking at it, trying to put it all together, to understand it, to express it.
But he had not expressed it. He had left something of himself back there on the streets of Brooklyn which he was afraid to look at again. "One time," he said. "we got into a car and drove over to the Village and we picked up this queer, a young guy, and we drove him back to Brooklyn. Poor guy, he was scared green before we got halfway there but he couldn't jump out of the car. We drove into this garage, there were seven of us, and we made him go down on all of us and then we beat the piss out of him and took all his money and took his clothes and left him lying on that cement floor, and, you know, it was winter." He looked over at her, looked directly at her for the first time that morning. "Sometimes I still wonder if they found him in time, or if he died, or what." He put his hands together and looked out of the window. "Sometimes I wonder if I'm still the same person who did those things - so long ago."
No. It was not expressed. She wondered why. Perhaps it was because Vivaldo's recollections in no sense freed him from the things recalled. He had not gone back into it- that time, that boy; he regarded it with a fascinated, even romantic horror, and he was looking for a way to deny it.
Perhaps such secrets, the secrets of everyone, were only expressed when the person laboriously dragged them into the light of the world, imposed them on the world, and made them a part of the world's experience. Without this effort, the secret place was merely a dungeon in which the person perished; without this effort, indeed, the entire world would be an uninhabitable darkness; and she saw, with a dreadful reluctance, why this effort was so rare. Reluctantly, because she then realized that Richard had bitterly disappointed her by writing a book in which he did not believe. In that moment she knew, and she knew that Richard would never face it, that the book he had written to make money represented the absolute limit of his talent. It had not really been written to make money - if only it had been! It had been written because he was afraid, afraid of things dark, strange, dangerous, difficult, and deep.
inland empire
"I'm beginning to think," she said, "that growing just means learning more and more about anguish. That poison becomes your diet - you drink a little of it every day. Once you've seen it, you can't stop seeing it - that's the trouble. And it can, it can" - she passed her hand wearily over her brow again - "drive you mad." She walked away briefly, then returned to their corner. "You begin to see that you yourself, innocent, upright you, have contributed and do contribute to the misery of the world. Which will never end because we're what we are." He watched her face from which the youth was now, before his eyes, departing; her girlhood, at last, was falling away from her. Yet, her face did not seem precisely faded, or, for that matter, old. It looked scoured, there was something invincibly impersonal in it.
"I watched Richard this morning and I thought to myself, as I've thought before, how much responsibility I must take for who he is, for what he's become." She put the tip of her finger against her lips for a moment, and closed her eyes. "I score him, after all, for being second-rate, for not having any real passion, any real daring, any real thoughts of his own. But he never did, he hasn't changed. I was delighted to give him my opinions; when I was with him, I had the daring and the passion. And he took them all, of course, how could he tell they weren't his? And I was happy because I'd succeeded so brilliantly, I thought, in making him what I wanted him to be. And of course he can't understand that it's just that triumph which is intolerable now. I've made myself - less than I might have been - by leading him to water which he doesn't know how to drink. It's not for him. But it's too late now."
She smiled. "He doesn't have any real work to do, that's his trouble, that's the trouble with this whole unspeakable time and place. And I'm trapped. It doesn't do any good to blame the people or the time - one is oneself all those people. We are the time." - James Baldwin (cut)
The Dining Rooms - Flamenco Sketches (nicola conte new rhumba version) pressed in 2004
Conversazione:
"What a remarkable journey my life has been. I was born one of craniopagus quintuplets - five infants connected at the head, our bodies extending radially like flower petals.
I was the only sibling to survive the surgery that separated us. My father was an imposing and remote figure, very much the martial patriarch who valued certainty and implacable resolve above all other attributes. (Father was particularly fastidious about language. I was with him on a plane once when he turned around in his seat and slapped a complete stranger across the face for mispronouncing the word putsch.) Mother, albeit not an intellectual - she was incapable of naming four American presidents, making change for $20, or reading a menu - was certainly a more empathetic and tender parent. But her influence was effectively muted by Father's strident and unyielding decrees. As a child, I was absolutely forbidden to express or inwardly harbor self-doubt. Soon after Mother's mysterious suicide, Father hired a telepathic governess from a Soviet parapsychology institute. If, in the sanctuary of my own bedroom, I had thoughts that even remotely hinted at irresolution or trepidation, the woman - an affectless martinet with an intricate circuitry of braids enveloping the back of her skull - would suddenly materialize to flay my bare buttocks with a heavy Cyrillic ruler, chiding in her eerie monotone: "Dun't sink negatif!"
After leaving home, I supported myself by doing odd jobs.
For twenty dollars, I'd arrange the cash in your wallet, President-side up, in increasing denominations. That was standard. Specials included alphabetical arrangement by last name of Secretary of Treasury, by ascending or descending serial number, etc. I did a job for a lady who liked her wallet arranged with wrinkled bills up front and crispy bills toward the back. A transit cop once hired me to arrange his bills by shade; this is called the "the fade" - bright cash up front, bleached cash to the rear. Chacun a son gout. Specials were extra, of course. You'd be amazed at what people won't do for themselves, or can't do because they have their weird little phobias. A guy once called me - a young guy, I'd say about twenty-five - and he wanted me to cut up his expired credit cards. The guy had this morbid fear of credit cards once they've expired. Obviously, there's some complex psychopathology involved here, but hey....
When I arrived at the guy's house, there were two expired cards - an American Express and a Sunoco -
lying in his bathtub where he'd flung them in a panic the week before. So acute was his aversion that he'd refused to go anywhere near the tub. I might add that the dude had cultivated quite a stench (which cost him an extra ten bucks; if you had really bad body odor, that would cost you an extra $10 no matter what I did for you). And when I picked up the cards and walked toward him, he recoiled in horror, weeping, falling to his knees, pleading with me not to come any closer. I diced the cards with a pair of shears from my tool belt, and, per our agreement, disposed of them in a landfill some ten miles out of town. I charged him $60 - the regular $50 for cutting cards, plus the $10 surcharge because he stank so bad. Ironically, he paid with a Visa card - active, I assume. I also killed pets.
Pet "hits" were a lucrative portion of my business.
A lot of people wanted their pets dead because they've become too much trouble, but they couldn't bring themselves to do it because they'd become so emotionally attached or for religious reasons or whatever - so, for a fee, I'd do it. My first job, I garroted an incontinent Schnauzer for a guy in Englewood, New Jersey. It got easier and easier after that. A woman once contracted me to kill her turtle. The lady's got something called purulent erythema serpens, which makes your skin look like Roquefort cheese, and she thinks she caught the disease somehow from the turtle, so she hates the turtle and wants it dead, and she wants to see it die. So I devise a nice little car bomb for the turtle - a matchbox pickup truck with a piece of lettuce in it and a cherry bomb under it. The turtle waddles onto the toy truck to eat the lettuce, I light the fuse, and boom! Arrivederci, Michelangelo.
But I did all sorts of other things, too. I'd help you take your cowboy boots off - that was $3 dollars a boot. If you were straightening a painting on the wall and you needed someone to stand across the room and tell you if it was level - that was $7 per painting, and I'd do four paintings for only $25. And I'd charge ten bucks to smell your milk - y'know, if you couldn't decide whether it was spoiled or not." - Mark Leyner (cut)
1. play the music 2. look at photos 3. play again if music stops
Inner Life - I'm Caught Up (In A One Night Love Affair) pressed in 1979
i'm caught up in one night love affairs hoping true love will find me there
caught up in one night love affairs in need of love again that's just the way i am before i let you in there's just one thing i wanna say there's no need to pretend that this will end another way tomorrow you'll wake up and be on your way forget all the things you'll say tonight that's why i'm caught up in one night in one night love affairs hoping true love, will find me there you see i'm caught up in one night love affairs in need of love again that's just the way i am
so make yourself at home i want to warm you for awhile, oh yeah i haven't got much time to find the man behind the smile i'm a fairy tale princess in search of a knight and i never believe dreams come true i'm just like you you see i'm caught up in one night love affairs hoping true love, will find me there you see i'm caught up in one night love affairs in need of love again that's just the way i am caught up in one night love affairs hoping true love will find me there you see i'm caught up in one night love affairs in need of love again that's just the way i am caught up, yeah (in one night love affairs) hoping true love, yes, will find me there see, i'm caught up in one night love affairs, in need of love again that's just the way i am (caught up) in one night love affairs hoping true love will find me there see, i'm caught up, in one night love affairs in need of love again that's just the way i am
(caught up) oh yeah, yeah stay-ay-ay for awhile, baby want to hold you for a while stay with you in time, oh close the door and i'm next to you the music's sweet, just watch what i'm gonna do (caught up) oh yeah! (in one night love affairs) hoping true love it will find me there see, i'm caught up in one night love affairs in neeed of love, see that's just the way i am (caught up, in one night affairs) (true love) hoping true love (will find me there) (caught up) i'm caught up (in one night love affairs) in need of love again, that's just the way I am (caught up) ohh, in one night (in one night love affairs) oohh yeah! oohhh yeah! (i, i, i, i'm caught up) i'm caught up (in one night love affairs) oohhhh! don't you hear me tellin' ya? (i, i, i, i'm caught up) hey baby (in one night love affairs) how many more must i count? (i, i, i, i'm caught up) i'm caught up (in one night love affairs) can u believe (i, i, i, i'm caught up) yeah, yeah in one night love affairs why don't you hold me for awhile? (caught up) oh yea-ah
i have no control, won't you stay with me some more? (caught up) oh, baby (in one night love affairs) in one night love affairs, one night love affairs (i, i, i, i'm caught up) i'm caught up (in one night love affairs) i don't know what to do (i, i, i, i'm caught up, in one night love affairs) oh yes i am, yes i am, yes i am (i, i, i, i'm caught up) i'm caught up (in one night love affairs) do you believe boy, that's its my love for you (i, i, i, i'm caught up) that makes me do the things i do (in one night love affairs) oh, yeah yeah, oh baby (i, i, i, i'm caught up) caught up (in one night love affairs) (i, i, i, i'm caught up, in one night love affairs) (i, i, i, i'm caught up, in one night love affairs) (i, i, i, i'm caught up) (i, i, i, i'm caught up)
(i, i, i, i'm caught up) i'm caught up (in one night love affairs) do you believe boy, that its my love for you (i, i, i, i'm caught up) that makes me do the things i do oohh yeah yeah, oh baby, see (i, i, i, i'm caught up) in one night love affairs oh yeah (i, i, i, i'm caught up) just make yourself at home (in one night love affairs) i wanna warm you for awhile oh yes i do (i, i, i, i'm caught up) since this is all the time i got, i wanna hold ya for a little while (in one night love affairs) oh yeah (i, i, i, i'm caught up) do you believe i'm caught up, don't know what to do in one love affairs i wish i could hold on to you (i, i, i, i'm caught up) but i understand why, yeah (in one night love affairs) ohh, hey baby, yeah yeah (i, i, i, i'm caught up) i'm caught up (in one night love affairs) one night love affairs, one night love affairs (i, i, i, i'm caught up) i'm caught up in one night affairs do you believe, boy?!
Frankie Goes To Hollywood - San Jose (cover, Dionne Warwick) pressed in 1985
Your goal is to become a complete person and to achieve this you must reach the top on the Bar Charts (when the letters BANG will appear above the personality factors) and achieve a score of 99,000 Pleasure Points.
This combination awards you the minimum requirement (99% a complete person) to search for the Special Door - the Door to the Ultimate Experience - the heart of the Pleasure Dome. Frankie say Relax. Use the Power of Zap to build the equation (Pleasure, War, Love and Faith) to its peak when, if you respond brilliantly, you may enter the heart of the Pleasure Dome.
You begin this extraordinary experience devoid of personality, an amorphous shape
in an environment of suburban boredom. But don't be put off by ennui, all may not be as it appears! Behind the facade of flying ducks and kitchen sinks however lies a giant web of drama and intrigue spun within the Pleasure Dome.
There are different streets and different houses, take nothing for granted.
Touch everything, explore, probe, experiment - your curiosity will be rewarded. Pick up objects and use them in the correct way. Misusing objects is the only way the game can be lost. Find important items so you can survive and succeed in the Pleasure Dome
do you know the way to san jose? i've been away so long, i may go wrong and lose my way
do you know the way to san jose? i'm going back to find some peace of mind in san jose
la is a great big freeway put a hundred down and buy a car in a week, maybe two, they'll make you a star weeks turn into years, how quick they pass and all the stars that never were are parking cars and pumping gas
you can really breathe in san jose they've got a lot of space, there'll be a place where I can stay i was born and raised in san jose i'm going back to find some peace of mind in san jose
fame and fortune is a magnet it can pull you far away from home with a dream in your heart you're never alone dreams turn into dust and blow away and there you are without a friend you pack your car and ride away
i've got lots of friends in san jose do you know the way to san jose?
la is a great big freeway it can pull you far away from home with a dream in your heart you're never alone dreams turn into dust and blow away and there you are without a friend you pack your car and ride away
i've got lots of friends in san jose do you know the way to san jose? can't wait to get back to san jose
REMEMBER, to develop your personality completely you must finish all the tasks, for only then will the opportunity arise, to re-enter the maze and search for that Door behind which lies the secret of self discovery...Go for it! - game manual (copied, cut)
1. play the music 2. look at photos 3. play again if music stops
Don Matias - Konga Kool pressed in 2004
Disfrutar, beber, reirse. Todo el tiempo. (lol) Trabajar? poco. Lo justo.
"You're the writer. So write. Give us a paragraph about Catherine Hawes."
Sommers shrugged wearily. He studied his cigarette, dragged on it, flipped it out toward the gutter. He would have liked more of an audience but he gave it to us anyhow.
"Catherine Hawes." he said. "About twenty-five, exceptionally pretty. Bright too, but without much intellect. Neurotic, divorced, essentially uninhibited. Just enough sensitivity and awareness so that she can't be satisfied with the ordinary middle-class existence - husband, family, that sort of thing - but not enough creativity or drive to find anything to take its place. She drifts, goes off the deep end sometimes, generally out of sheer boredom - drinks too much, looks for new kicks. There are a lot of girls like her. They shouldn't go to college to start with. They get just enough ideas about art and rebellion to get restless. But most of them settle down eventually, wind up at cocktail parties in the country club and forget they ever knew the difference. They play golf. Cathy probably will too, sooner or later." "You said she was married." "She cheated. It broke up." "She a nympho?" "I wouldn't put it that way. She was knocking around a lot before the marriage. People get used to that. It's not the sexual satisfaction so much as the excitement of somebody new." - David Markson (cut)
let's get it together, baby you know, you know, you know
get it together, baby you know get it together baby, baby
you're a modern girl i'm a modern machine let's be as one just like in my dream flesh on metal, i'll be a real man i wanna upgrade you and fill you up with RAM
modern love touch my screen modern love woman and machine
felt good when you touched my screen you know what i mean, baby felt good when you touched my screen you know what i mean got it together, baby got it together
turn on my power log into my hardware we'll pass the time, doin' a little bit of file share i'm virus free, fully protected you've got full access to all my beeps
modern love touch my screen modern love woman and machine modern love touch my screen modern love woman and machine
i must be powered down i'm dreaming some kind of dream just me and you running through phasar.... i can touch your face and hands i'm a real man, instead of a machine, a machine, a machine, a machine
this is a modern sleepover i will send the cards, all my drives are hard this is a modern sleepover i will send the cards, all my drives are hard this is a modern sleepover i will send the cards, all my drives are hard
this a modern sleepover this is a modern sleepover
this is a modern sleepover this a modern sleepover
We all need someone to look at us. We can be divided into four categories according to the kind of look we wish to live under. The first category longs for the look of an infinite number of anonymous eyes, in other words, for the look of the public...The second category is made up of people who have a vital need to be looked at by many known eyes...Then there is the third category, the category of who need to be constantly before the eyes of the person they love...And finally there is the fourth category, the rarest, the category of people who live in the imaginary eyes of those who are not present. - Milan Kundera (cut)
1. play the music 2. look at photos 3. play again if music stops
Wizards of Ooze - Bright Day pressed in 1996
lookin' for, a bright day said i wanna know what happened to my mellow
this ain't right i guess i'm gonna build my own milky way and i know, i'm gonna find it someway
bright day searching for my bright day bright day try to find my bright day, my bright day
mmm, i'm so close i feel the rainbow to scare away my shadows i rise and shine and i elevate my mind i guess i'm going, straight up to my milky way
bright day searching for a bright day bright day try to find my bright day, the right day bright day searching for a right day cause i'm gonna build my own milky way
Bill Evans with Jeremy Steig - Spartacus Love Theme pressed in 1969
"First rule: you get an instant kill on the red. Here and here. Always remember: go for the red first because if you don't your opponent will."
"For the blue you get a cripple. Here, here, here, and here. Second rule: go for the cripple before the slow kill."
"When, with an expression so ill-bred as to be fatherless, I enjoin a small offensive fellow to 'fuck a duck,' I don't mean he should. Nothing of the sort is in my mind. In a way I've used the words, yet I've quite ignored their content, and in that sense I've not employed them at all, they've only appeared. I haven't even exercised the form. The command was not a command. 'Go fly a kite' only looks like 'shut the door.' At first glance it seems enough that the words themselves be shocking or offensive - that they dent the fender of convention at least a little - but there is always more to anything than that.
For example, when rice is thrown at a newly wedded pair, we understand the gesture to have a meaning and an object. Sand thrown at the best man misses its mark. Yet, the rice too, is being misused - neither milled, planted, nor boiled. Of course, rice signifies fertility for us. It resembles (indeed is) a seed. It is small and easily handled. It is light and lands lightly on its targets. It is plentiful and easily come by. And it is cheap. In short, rice is like three cheers, good luck, and God speed. Rice is like language. Similarly, when we swear we say we let off steam by throwing out words at someone or something. 'Fuck you' I mutter to the backside of the traffic cop, though I am innocent of any such intention." - William Gass
"Here's a slow kill on the yellow. Here, here and here. Remember: a slow kill may have enough left in 'em to kill you before he dies. With a cripple you know you've got 'em if you keep your distance and wear him down."
1. play the music 2. look at photos 3. play again if music stops
Peven Everett - If You Let Me (I'll Show You) pressed in 2009
let me girl, i'll show you why show ya let me (let me) if ya let me girl, i'll show you why
why they talk like they do cause i attributes ones they want every girl ya just dont know so dont be scared baby see you're in trouble you loving me soon discover possibilities i'll pull you out the rubble things you never seen let me pull it together
let me tell ya if ya (if you let me girl, i'll show you why) if you let me, if you let me let me, let me (if you let me girl, i'll show you why) leet so would you like this i axe tell me right because i can't pass you i'm on fire eternal flame, girl your desire let's partake and in your own sweet way (in your own sweet way) you've managed to shake me up (you've managed to shake me up) there's a lot at stake (there's a lot at stake) there's no need to break this up (break this up) i know you've been hurt before (i know you've been hurt before) i'm here to make sure you hurt no more (i'm here to make sure you don't hurt no more) my love's an open door (my loves an open door)(loves an open door) for ya
workin' your body down to the earth's cooooore
(if you let me girl. i'll show you why) to the earth's the core (shakes) if ya let me (if you let me girl, i'll show you why) a real don, make way (if ya) if ya (if you let me girl, i'll show you why) show you why, show you why they love me (yeah) (if you let me girl, i'll show you why) so who baby loves ya let me hear it loud and clear, don't even start up so who baby gotcha screamin' so loud you'll wake the whole damn block up (that's right) so who baby knows ya, let me hear you loud and clear, don't even start up (that's right, that's right) so who baby gotcha, screamin so loud uhuh screamin yeah uh screamin, yeah yeah ha ha
sometimes we just can't quite see what's right in front of us caught up in the lust, summertime on the fuss, prowl it's just disgust now do you trust from my touch you can cuss now know you're sensitive no intent to rush now i got the chill bubbles sweet with spill on us now i'm the one that you need with the cush style look no further got the fervor with the bourbon skin all in my caddy got the saavvy with the hustle grin i winked my eye she had enough of him with the spry like a jungle gym i'd be lying if i said i didn't, want to get with somethin' so exquisite a perfect 10 all the right logistics i'm good with numbers, if you handle business my rough and tumble would you like it vicious? see, we can get this hotter than skillet you don't hear me in the wheelin' dealin' baby just cant stop the feelin'
baby? what's your name?
if you let me show you, girl (if you let me girl, i'll show you why) wwhhyy (why)
If I were reincarnated, I’d want to come back a buzzard. Nothing hates him or envies him or wants him or needs him. He is never bothered or in danger, and he can eat anything. - William Faulkner (cut)
Stee Downes - What's Wrong With Groovin' (cover, Letta Mbulu) pressed in 2008
"what is wrong with groovin? can't a girl just have a little happy?
with out any hide and seek? what is this you're risking for? surely, there must be another way out? they don't have to put me down
why do they call out your name? just like you said it's only 7, baby
what are they peepin'? are they foolin? where are they at?
what is wrong with groovin'? what is wrong wailin'? what is wrong with livin'? what is wrong with livin'?
why do they call out your name? just like you said it's only 7, baby
what are they peepin'? are they foolin? where are they at?
what is wrong with groovin'? what is wrong wailin'? what is wrong with livin'? what is wrong with livin'?"
All facts and personages of great importance in world history occur, as it were, twice: the first time as tragedy, the second as farce. - GW Hegel (reprise, Karl Marx)
