kagablog

March 27, 2015

on so-called “reverse racism”

Filed under: politics — ABRAXAS @ 9:55 am

White Power re-imagines itself as a victim in order to retain what it pretends it no longer has. There is no such thing as a white without privilege in this labour camp still called “South Africa”.

aryan kaganof

March 26, 2015

senyaka – r.i.p.

Filed under: 2003 - sharp sharp! (the kwaito story),music — ABRAXAS @ 3:54 pm

thoreau – civil disobedience

Filed under: literature,philosophy,politics — ABRAXAS @ 11:43 am

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EROART by Frank Moore (1984)

Filed under: art,Frank Moore,nicola deane,sex — ABRAXAS @ 10:52 am

I wrote the below manifesto before the internet, before people like Annie Sprinkle reclaimed the word “porn” for life affirming art, before VIMEO.com, really before a lot of things. I am bringing it back from the vault because I am starting a new group on VIMEO.com, NUDE PERFORMANCE ART, DANCE AND VIDEO. There is a ton of what I called below EROART of all kinds on VIMEO.com. the erart video group is here: https://vimeo.com/groups/eroart
Frank Moore, August 2011

EROART
Frank Moore
1984

Thanks to the repressive, anti sexual, anti pleasure morality, romanticism, and pornography, the traditional area of eroart — art that uses nudity, physicality, and/or sex to turn people on to life — has been ripped off by pornography.

Almost everyone is against porn films. Almost everybody in his right mind. But everybody isn’t in his right mind, which is why there is porn anyway. But it is fashionable to be against porn. There are many good reasons to be against porn. Fashion is not one of them. The anti sex, anti pleasure, anti nudity morality is not one of the good reasons to be anti porn. This kind of repressive morality is the main reason why during the nineteenth century kinky violent porn caught on.

What I am interested in is art that creates in people the desire to go out and play with other people, and to enjoy life. This is the art of eroplay. Historically, one of the tools of this art has been the sex act. But sex has only been a tool, not the goal. And it is just one of many tools.

NICOLA'S FIRST ORGASM from African Noise Foundation on Vimeo.

Isadora Duncan is a person whom I would call an artist in the eroplay tradition. She used nudity (especially at private parties where she could dance without feeling moral judgments) and movement to turn people on physically to their own bodies and to passion for life. This is the true goal of eroplay art, which has been called eroart. Most books on eroart miss the true purpose of such art. There has always been sexual erotic art. This kind of art is universal and can be traced back to the caves and beyond.

This is not true for what is defined as porn. I am trying to define eroart. We are forced to separate it from porn, and rightly so.

It is fashionable to be anti porn. But it is human to be anti porn because porn is anti human, not only anti female. It is violence between individual people. At times, this violence is graphic. It is personal and intimate violence in a hostile and impersonal form. I hurt you to make me feel turned on because I cannot get turned on in any other way because I cannot feel … besides, you like being hurt … if you don’t … who cares. This isn’t the symbolic or surreal violence in other kinds of films.

Porn is also anti human because it creates a picture of what sex should be that is unreal and boring. It creates pictures of what you should be like … pictures which are hard to live up to … and if you do live up to them, you will be a big- dicked jerk or a big titted bimbo.

These are the fundamental reasons why to be anti porn.

PRIMAL SCENE from African Noise Foundation on Vimeo.

But face it, the main reason that most people are anti porn is because porn is boring and dumb. The people who make porn (I am talking about straight porn now, leaving the kinky, violent porn in the trash can) think that the main reason why people go to see porn is to see tubes going in and out of holes. So they cram in as many tubes going in and out of holes as possible in ninety minutes … and as close up as possible. This may be true for some people, but for most people, it gets boring once curiosity is satisfied, curiosity about what it looks like, and once the possibility of seeing everything is fulfilled.

It is fashionable to be anti porn. But it is not fashionable to offer an alternative to porn. It is not fashionable to admit that people like seeing other people nude, seeing other people getting turned on and being turned on. It is not fashionable to admit people are curious to see other people’s bodies, to see what they are really like under those clothes. It is not fashionable to admit people feel cheated whenever the camera moves away, fades away, when people on the screen are getting intimate. It is not fashionable because it would be putting yourself, your body, and your emotions where your ideals and your politics are.

To make videos that satisfy that child like need of seeing nude bodies and seeing people playing, making out, and having fun is not as profitable as either what Hollywood does or what the porn makers do. This child like need is the healthy human desire that is perverted in porn.

The time is right for an art form that addresses this healthy desire. The women’s movement has changed people’s standards with regard to sex and the quality of relationships. This is true of both men and of women. They have scrapped, or are scrapping, the old sexist ways and attitudes, and now they find the old style porn disgusting … but more importantly, they are finding porn is not meeting their needs and desires. They want to be turned on in a way that is not sexual; they want to see nudity without stupidity; they want to see new ways of relating between humans both in and out of bed. Eroart in all media can show this way of relating … can show both purely nonsexual eroplay and eroplay as foreplay in sex.

DIABELLI VARIATION XXXIII from African Noise Foundation on Vimeo.

Film and video can do this. But the producers of porn haven’t the foggiest idea of this, and have a vested interest in the meat approach. In its broadest definition, erovideo could be any kind of film westerns, thrillers, science fiction, etc. — in which the unwritten rules are not followed. The camera doesn’t fade or cut away from erotic scenes before it is logical to do so … bodies wouldn’t be cut off. Cable has made porn so available that it has removed the glamour of the forbidden. As a result, porn has to stand on its lack of merit. As a result, the sales and rentals on adult tapes are going down, and the adult cable systems are going out of business.

The desire to see nudity and intimacy and to be turned on is not being satisfied. Hollywood is caught between being ruled by taboos and being in the business of teasing. Andy Warhol once said Hollywood has been doing a forty year striptease, showing a little more each year to get people to come back.

The closest Hollywood comes to the erotic/sexual (except for a few maverick directors like Roeg) is the sex exploitation and youth exploitation films. There seems to be an unwritten rule that if it is sexy sexual nude, it has to be dumb. Hollywood does exploitative films because they make money. They make money because they are the closest thing to the erotic/sexual that is offered. But sitting through a dumb movie to see nude bodies of dumb people is not worth it. Hollywood, however, will not take risks.

Hollywood will not make such a risky, daring product as a truly erotic film mainly because of the high money stakes involved. The pornographers will not do it either because of their lack of skill, insight, and morality, or because they too are ruled by money, and by criminals.

But breaking taboos has always been a part of art, at least the area of art that seeks to change consciousness, change morality, change reality. The breaking of taboos ideally should not be a part of eroplay for everyday life. But it is. Art can slowly take eroplay out of the taboo area. This is one of the functions of art.

inmediares from African Noise Foundation on Vimeo.

Here is where art comes in. As I have said, this kind of art creates a kind of bubble in which the forbidden can be done with immunity, releasing the energy of the broken taboo … energy which then affects society as a whole. Art makes a clear circle of difference between this bubble and everyday reality; it is a kind of safety valve for society … much as dreams are to the individual. According to the book THE PAINTED BODY, the caves where the first artists did their work where no one could see were such bubbles, as was body painting. Performance art is this kind of consciousness altering art. It creates a special time and place where taboos can be broken, where new ways can be introduced into the society.

The other way that art can make it easier for us in everyday life, and at the same time fight against the anti pleasure, anti human morality, against sexism, against pornography, against romanticism, is by showing us eroplay, both with and without sex, and getting us acquainted and comfortable with eroplay. This can be done in all media. Enter erovision. Erotic projects could be made on half inch video tape by individual artists to be sold directly by mail from the artist to the individual viewer. This would avoid the power structures that grow up around big money.

Half inch video, home video, is cheap in materials, editing, and post production, and distribution is much, much cheaper than in any other format. The technical quality is acceptable, and free from the comparison with film or professional three quarter inch video. Home video is the workable channel for any product that the establishment will not touch … or that you don’t want the establishment to touch, hence control. Such is erovideo.

Whether we as artists do eroart to release magically eroplay into the air (such as through performance art) or to show the non sexual way of relating that is eroplay (such as through video or film) … whether we choose to use the sex act or not in our eroart … we must not let our work be defined in relation to pornography. There has been a huge amount of time and energy wasted trying to define and ban pornography. The best way to undermine sexism and pornography is to create an alternative to them. Take back nudity, pleasure, sex, and eroticism from pornography. Show pornography up as being drab, inhuman, unfun by creating a fun, human, happy alternative. Create eroart! This is overstating the case somewhat because you cannot do good eroart if it is in reaction to porn … only if it comes from some warm and playful place, can it be good eroart. Unless we put ourselves — our creativity, our minds, and yes, our bodies — into representing eroart as the humanistic alternative, the pornographer, the sexist, and the moralist will win by default.

previously published here: http://www.eroplay.com/Cave/Writings/eroart_1984.html

March 25, 2015

Scelsi: Cello Music (review)

Filed under: Giacinto Scelsi,music,reviews — ABRAXAS @ 1:00 pm

Note that this text is rather dated and has not been revised.

Giacinto Scelsi (1905-1988) wrote much of his large output for strings, either for solo instruments or in combinations including five quartets. Scelsi’s concentration on string writing began in the mid-50s, at about the time he was writing his last piano suites and eventually abandoning that instrument which had to that time been his primary means of expression. From the mid-50s onward, Scelsi’s most intimate compositions are written for strings — often performing solo, and in many ways this is the heart of his output.

Recently released on CD on Etcetera KTC 1136 is Frances-Marie Uitti performing the Trilogia for solo cello along with Ko-Tha for modified cello. Certainly Trilogia is the major work on the disc, and the center piece of Scelsi’s early output for solo strings. Uitti worked with Scelsi at his home, and this CD is a re-issue of a dutch recording made in 1979. In this way, Uitti is grouped with the performers Michiko Hirayama and the Arditti Quartet which were chosen by Scelsi to record some of his music — and her performance of the Trilogia can be considered definitive. Her control of the multiple-string polyphony is impressive, and she brings a mature polish to some very difficult instrumental work. This recording is a must for anyone interested in Scelsi’s chamber music.

The immense work Trilogia (The Three Ages of Man) is made of three smaller pieces of normal length for Scelsi (each just over thirteen minutes) which were written at different times and combined to form this epic saga. The first of the group is Triphon which can be considered Scelsi’s first real string masterpiece in his new style. According to the CD, this piece dates from 1957 but in two other sources it dates from 1956. One of these sources includes David Simpson’s recording of Triphon on FY 119; Simpson’s performance is good, though the mixing on the recording makes it a little dim, and his interpretation cannot have the historical weight of Uitti’s. However, since Uitti helped in the cataloging of Scelsi’s music, the date 1957 might be more accurate; in this case, there is not much difference but other works have a greater spread in the date assigned to them.

Anyway, Triphon (1956) represents a culmination of Scelsi’s string writing in the mid-50s. This ouput begins with Divertimenti for solo violin of which there are five; the third (1955) is recorded on Accord 200622. Scelsi apparently used the title Divertimento because these pieces are in a traditional tonal idiom — however, they are quite serious and show Scelsi’s incredible mastery of this idiom. Another earlier work is Coelocanth (1955) for solo viola (also on Accord 200622) which shows something of a transition between the traditional style and the style of Triphon. Here the first movements sound a bit unsure, but the last really looks forward to the polyphonic style which was to occupy Scelsi for the next ten years. Triphon is subtitled “Youth – Energy – Drama” and is a work of intense individuality, which would be very difficult to anticipate from Coelocanth or any other music. Here Scelsi begins the use of two kinds of metallic mutes for individual strings, and the first movement consists mainly of a slow recitative in the lower register under a fast buzzing (achieved via individual metallic mutes, at times scraping) interplay in upper voices. The sound is quite intense, and is somewhat reminiscent of the buzz of indian sitar. The third movement Drama is indeed highly dramatic, and consists of Scelsi’s intense polyphonic style in which different voices use different forms of ornamentation concurrently (presenting unusual instrumental problems for the performer.) There is certainly some violence in this work, but after repeated hearings the overall effect is not a violent one — indeed, the sharp overtone sprectrum on a sitar is considered not at all aggresive in India.

The second part of the Trilogia is the single-movement work Dithome which the CD dates also from 1957. I find this date rather dubious, but have no other references. There is quite a bit of stylistic difference between Triphon and Dithome, though some of that can certainly be ascribed to their different stated descriptive intentions. The subtitle of Dithome is “Maturity – Energy – Thought” which obviously shows reference to the earlier work, however it is in one long movement — possibly Scelsi’s longest (the longest recorded) and probably the most exhausting. The sound world of this piece corresponds much more closely to the Quartet No. 2 (1961) than to Triphon, and in fact represents something of a companion piece to that epoch-making Quartet (for that reason, I suspect the date may be as late as 1960 though the more I listen to Scelsi, the more I wonder about dating his music at all.) Here there is even more concentrated use of microtonal interplay between voices as well as unisons, the overall effect is much more calm and polished. Concerning Scelsi’s use of unisons in polyphony, it is important to note that in the composer’s 80-word autobiography he mentions his “medieval education” which apparently had some consequence for him — and his use of unisons and open intervals can be seen as a continuation of Binchois and Ockeghem some five hundred years later. Scelsi’s inspiration is quite cosmopolitan in almost every conceivable sense of the term. At any rate, Dithome can be viewed as an ABCBA form in which the middle section is much expanded, at times homophonic and songlike and at times involving quick microtonal manipulations, always more restrained than Triphon which neglects homophony. The A-sections are single voice melodies, the second recapitulating the first. The B-sections are intense microtonal polyphony (which took me more than a little effort to follow), as impressive and powerful as anything in Scelsi’s output. Dithome is a symmetric piece (though nothing is repeated exactly) and as opposed to the Quartet No. 4, it is centrally symmetric. Also as opposed to Quartet No. 4 where the second “half” is arguably more intense than the first, in Dithome the first B-section is by far the most challenging; whereas the fourth quartet is a study in the path of least resistance and sneaks up on a listener, Dithome packs a big punch in the first moments. Exactly how the form relates to the poetic title, I am not sure — though the B-section will surely impart some listening maturity.

The third part of the Trilogia is the piece Ygghur (which means catharsis in Sanskrit) which is again in three movements and subtitled “Old Age – Memories – Catharsis.” The CD dates it from 1961, though other sources date it from 1965 — in this case, the dating is more interesting since Ygghur is notated on one stave per string which Scelsi officially began in 1964 with the fourth Quartet, making the 1965 date seem reasonable. Another piece, one of the Scelsi’s masterpieces Elegia per Ty (recorded on Accord 200622) is also notated one stave per string and has the conflicting dates 1958 and 1966 associated with it. Given that Scelsi often recorded a piece (at least in the case of piano music) and only subsequently had it notated, it seems plausible that these pieces may have been completely composed and even performed on the the earlier dates and only notated in final form after the issue of notation was resolved. This idea is rather interesting since Scelsi’s orchestral output came mostly from the early-60s, and makes his creative work in the late 50s truly awesome (in which case pieces like the Quattro Pezzi on a single note (1959) can be seen as simplifications not so much for personal study and eventual expansion, but to help the listener with the music already composed.) Whether or not there is any truth to this, Ygghur is notated one stave per string and therefore deserves to be considered with Scelsi’s mature summations of his string style dating from the mid-60s, these being the Quartet No. 4 (1964), Xnoybis (1964) for solo violin, Ygghur (1965) for solo cello, Manto (1966) for solo viola along with the Duo for violin and cello (1965) and Elegia per Ty (1966) for viola and cello. Within this group (though I have not heard Manto, which I hope will be released soon), Ygghur is much more personal than the extremely technical (and perhaps instructional) Quartet No. 4 which is a study in pure form, and the highly intense and technical Xnoybis which is extremely difficult. It is also rather easier than any of these pieces which makes the 1961 date more plausible, though the difficulty may have been reduced in order not to overwhelm the other pieces in the Trilogia (which the Elegia certainly would.)

Scelsi apparently wrote six duos for strings. In addition to the two from this period using the cello, there is Arc-en-ciel (1973) for two violins, Nuits for two double bases, and two others which are still unknown. The Duo for violin and cello is seen as a study for the Elegia (though if the 1958 date is accurate this is rather dubious, unless as purely a study in notation) and consists of two movements which are basically independent illustrations; the power of the two illustrations should not be underestimated though, and the work builds somewhat on Xnoybis and also makes for a good introduction to the mid-60s ouput (the Quartet No. 4 is really formally simpler than any of these pieces.) The Elegia is an astonishing, mournful masterpiece which continues to show new aspects — it is very difficult to digest. By the fourth Quartet, Scelsi’s string writing is so expanded that a quartet sounds like an orchestra and so these duos represent an important level in his chamber music, perhaps taking the place of the traditional quartet.

Returning to Ygghur, the first movement “Old Age” anticipates/recalls the first movement of the Elegia, with its concentration on poignancy. The second movement “Memories” echoes much of Scelsi’s output to that time, though in particular the slow “gong” movement of the first quartet and anything else in disembodied form. The final movement “Catharsis” is mostly in high registers, very restrained, and looks forward to much of Scelsi’s string writing in the late-60s and the early 70s with their slow, restrained microtonal glissandi; as such it is not really as successful, though it takes some audacity to even attempt a movement on catharsis specifically. Whatever its position with respect to Scelsi’s 60s string ouput, Ygghur represents a fitting conclusion to the Trilogia and it can be assumed that it was at this point when the complete Trilogia was assembled.

In 1974, Scelsi wrote two more pieces for solo cello collectively titled Voyages. One of these, Le Fleuve Magique, has been recorded by Robin Clavreuil on Adda 581189. This piece hardly exists: it is only two minutes long and operates in fleeting harmonics. Nonetheless, it takes the listener on a real voyage and it is in such brief passages that Scelsi’s genius can be most easily felt. In addition to the Trilogia, Uitti’s CD includes Ko-Tha “A Dance of Shiva” which was arranged for six-string cello by Uitti in 1978 and recorded in Rome. The original was for amplified guitar, though one wonders whether Scelsi may have had the south indian veena in mind (which was played with electronic pickups by the late great Balachander) since the sound evokes the veena, though the lack of melody is certainly not indian. This piece consists largely of quickly arpeggiated, decaying chords much as in Aitsi (1974). In this case, there is also some rapping on the body of the cello. The piece is rather engaging, and an extreme example of one aspect of Scelsi’s late music.

As a whole, the Trilogia represents much of Scelsi’s mature style in an epic journey through his life. It is extremely powerful music reduced to its barest essentials for a single cello, yet producing at times a huge variety and intensity of sound. It is one of Scelsi’s masterpieces, and sure to take its place in all modern cello repertoires.

first published here:

March 24, 2015

on michael blake’s Tombeau de Mosoeu Moerane for birbyne and tape

Filed under: michael blake — ABRAXAS @ 10:52 am

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script – actor – director

Filed under: kaganof — ABRAXAS @ 10:10 am

I don’t like a script to give too many indications of how an actor should feel in a scene. I like the actor and director to work those things out. Otherwise an actor is always and only emulating something that is given on the page. The emotion should be real and develop out of the situation. If it is not exactly the same emotion that is given by a scriptwriter – if it is real it will nonetheless work for the film. This is why I have done away with so many of the concrete indications John gives for what the actor is feeling. I don’t want the actor to read that he or she is feeling something. I want that feeling to emerge, organically, out of our work. Writing it into the script very often prevents it from happening on set.

the shooting script

Filed under: kaganof — ABRAXAS @ 9:40 am

I would like to say a few words about my process in writing the Shooting Script.

Firstly I really did write it. It is impossible for me to direct a film without having written it because it is in making the body (fingers) memorize each scene, each dialogue, each shot; that I internalize the script. So that is why I am delivering the Shooting Script to you as a Word document. I re-wrote it word for word (no cut and pasting) and thereby absorbed it, made it my own.

In the process of writing a Shooting Script one has to be rigorous and be very clear about priorities. The script phase allows for a lot of fantasy, for experimentation, for wild guesses that might pay off. And sometimes they do. By the time one gets to a shooting script one has to constantly think about each word, each sentence, each scene, each image… is it worth getting a crew of forty adult men and woman up at half past five in the morning to go out and film this? Does it make sense to throw forty thousand rand of the film’s budget at this scene?

For me the time spent on shooting a mediocre scene is time that you have robbed me from properly covering a great scene. So I believe strongly in culling the mediocre in order to allow the great scenes to breathe better.

This process of mine is always informed by two very important principles.

1. IN MEDIA RES.
This is the most important and most fundamental axiom of film narrative for me. Film really isn’t theatre or literature. The movement of it doesn’t just allow for rapid movement through scenes, it positively demands it. For thisw reason it is very important to cull those beginnings of scenes and ends of scenes that have meaning theatrically (the actors always have to get OFF and get ON a stage) but are entirely unnecessary in a film. And it’s amazing what the cumulative effect in a film is of too many “heads and tails” of scenes, no matter how good the script is one starts becoming bored, it gets tedious. We want to move dynamically through the material.

2. KILL YOUR DARLINGS.
Especially given how long this script has been in the brewing, it is obvious that there are so many of these elements that one has grown to love, not because they’re moving the narrative along, not because they are telling us anything about the character of the protagonist; but simply because they are there and they always have been and we love them. Yes that’s perfect for a script. But, like weeds in an immaculate garden, they simply have to go in the Shooting Script phase. Because they are going to go out in the edit anyway. They simply don’t help the film move. They get in the way of the forward movement of the film. They are indulgences. They are your “darlings”.

It’s good that I came on board so late to this film because I believe I have been able to see very clearly what are darlings in this script and by excising them I believe that the film is going to work like an express train and not become littered with excess baggage, with foliage that gets in the way rather than allowing us to see how beautifully constructed this garden really is.

Most importantly for me I am going to ask you to read this Shooting Script as if the previous Script did not exist. As if you have received this script for the first time. Just let it happen to you. There will be plenty of time for possibly bringing back things I have weeded out. But for now forget about what’s not there and please concentrate on what is there.

Owl attacks joggers and steals their hats

Filed under: kagapoems — ABRAXAS @ 9:37 am

i feel like i am missing the key to myself she said she said
she said she said she said she said
some parts are too scary to live she said,
to be she said
the other side of the coin she said
is i’m actually basically limited she said
and i haven’t been able to work she said
with my limits she said
in a good away she said
because i’m inept she said
unemployable she said
you know you create a hole for yourself she said
and then you hide in it she said
anyway she said
anyway what? he said
on we must go he said
no she said, i said she said
i feel like i am she said
missing the key to myself she said
missing the key to myself

Give her a towel and say I’m not available

Filed under: kagapoems — ABRAXAS @ 9:36 am

Oh and by the way? she said
Your name it is what? she said
No, he said, it is Knott, he said
No, he said, it is Knott.
Then what, she said, is your name? she said
Then what, she said, is your name?
I told you, he cried, It is Knott, he cried
I told you, he cried, it is Knott.
Not what? she cried, I need to know what it Is you loon
not what it is not!
Not not, he cried, it is Knott with a K and two t’s, he cried
That’s capital K and two t’s. With an n – o – t inbetween, he added,
An n – o – t inbetween.
Inbetween what? she wailed and she wagged her tail
then again loudly added, Inbetween what?

Take a break for a minute to reflect on the scene

Little Miss Key Misser
felt like she was missing
the key to herself
so she climbed out of her hole
(the one she had buried herself in)
and went on a mission
to find that key
the key she was missing.

She was just about to go into the woods
when down jumped beside her
a very personable looking wolf
(or was it a wolfable looking person?)
who offered to accompany her through the dark
part of the journey
he held out his hand and smiled the hugest
toothiest grin she had ever seen
Friendly? Not sure. Slightly kinda buggy out creepy? Uh-uh, just a bit.
Nevertheless she held out her hand and pulled him next to her,
and on they went into the wood together, because,
she figured, there was more chance of her
finding that key with a companion than on
her own. As they stepped into the dark part of
the woods she turned to her new companion
and said Oh and by the way,
Your name it is what?

a letter from david wa maahlamela

Filed under: kaganof — ABRAXAS @ 9:31 am

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ieva jansone on g-string blues

Filed under: 2011 - G-String Blues,Ieva Jansone — ABRAXAS @ 8:54 am

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aunty aryan’s advice column

Filed under: kaganof — ABRAXAS @ 8:47 am

question:

I need to know this. I can’t ask anyone else, besides most guys (people) lack the raw honesty that you seem to have. I have been driving myself slightly nutty over this one and cant shake it yet. I have been fucking on a weekly basis. I come, we get busy and then i leave. The guy is rude and it’s ok. But we had an argument and he kicked me out. Every week i told myself it’s just sex, but it hurts more than i expected. Question:can a guy just fuck you for nearly a year and keep on seeing you as a fuckhole? is that also part of the male psyche..? (because i can’t fuck anyone on a weekly basis if there isn’t at least any attraction going on).

aunty aryan’s advice:

a guy can fuck you for eighteen years and keep on seeing you as a fuckhole.
if you’re very lucky.
usually after a few years he is so bored by you that the last thing he sees you as is a fuckhole.
you are dead meat to him. with flies.
so enjoy it if, after one year, a guy keeps on seeing you as a fuckhole.
you’re doing something right.

broken

Filed under: kagapoems — ABRAXAS @ 8:23 am

remember
that night
i was your christ
your krishna your mohammed too
i saved you from not getting broken
can you imagine any fate worse than that?
a lifetime without getting broken

a message to andile mngxitama: pay back the money!

Filed under: 2013 - From A Place of Blackness,andile mngxitama — ABRAXAS @ 8:13 am

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Owl attacks joggers and steals their hats

Filed under: kagapoems — ABRAXAS @ 8:09 am

i feel like i am missing the key to myself she said she said
she said she said she said she said
some parts are too scary to live she said,
to be she said
the other side of the coin she said
is i’m actually basically limited she said
and i haven’t been able to work she said
with my limits she said
in a good away she said
because i’m inept she said
unemployable she said
you know you create a hole for yourself she said
and then you hide in it she said
anyway she said
anyway what? he said
on we must go he said
no she said, i said she said
i feel like i am she said
missing the key to myself she said
missing the key to myself

March 23, 2015

open a recent poem

Filed under: kagapoems — ABRAXAS @ 11:59 pm

the revolution begins with compassion
civil disobedience and reading are de rigeur
the revolution doesn’t end
cash is king
magician

design for living

Filed under: kagapoems — ABRAXAS @ 6:15 pm

i can never go viral
i’m not virally
inclined. i’m
much more
like a
spiral
i’m
spirally
designed

sabotage reviews stacy hardy’s because the night

Filed under: literature,reviews,stacy hardy — ABRAXAS @ 2:32 pm

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Screen shot 2015-03-23 at 2.30.40 PM
Screen shot 2015-03-23 at 2.30.48 PM
first published here: http://sabotagereviews.com/2015/02/22/because-the-night-by-stacy-hardy/

threnody for the victims of marikana screening at slow violence workshop, stias, tuesday 31 march 2012

Filed under: 2014 - Marikana Symphony,stellenbosched — ABRAXAS @ 2:28 pm

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Filed under: art,nicola deane — ABRAXAS @ 2:14 pm

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chinua achebe, r.i.p.

Filed under: literature — ABRAXAS @ 2:11 pm

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keep reading this article here: http://www.nytimes.com/2013/03/23/world/africa/chinua-achebe-nigerian-writer-dies-at-82.html?smid=fb-share&_r=1

r.i.p.

Filed under: kagaportraits — ABRAXAS @ 2:02 pm

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fanon on violence

Filed under: philosophy,politics — ABRAXAS @ 7:04 am

The colonized man finds his freedom in and through violence.
Violence enlightens, because it indicates to the means and the end.
At the level of individuals violence is a cleansing force.
It frees the colonized man from his inferiority complex.
It makes him fearless and restores his self-respect.

Frantz Fanon
The Wretched of the Earth

March 22, 2015

20 march 2015

Filed under: Greyton 7233 — ABRAXAS @ 10:50 pm

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