These words are written in semi-darkness at night at Blackburn Hospitals Charity.
1. Carol Anderson. Taking My Mind off Love.
2. The Exits. You Gotta Have Money.
3. This section continues with the Techno piece Alarm Bellz. It is a repetitive piece lasting 30 minutes of an on and off alarm bell. After 15 minutes a continuous alarm bell of similar type
will emege and continuously increase up to one seventh of the first alarm bell.
4. Sabrina and Jim
Smart Sabrina is rather natural
as a nursing assistant
polite and hardworking
for gentleman Jim.
A qualified assistant
is a natural assistant
in the long ending journey
in the problems of life.
Hardworking and beautiful
is the natural assistance
to spread smiles around you
in the conquest of life.
5. Message to all Daleks. text
6. No Time to Understand You. text
7. It is Me. text written after a visit to Edinburgh zoo.
8. Dust. text. Note: the sun will evolve to a Red Giant and expand beyond the Earth's orbit.
9. Protection. text
10. My Love is Like a River. text
Music is the most jealous mistress - Carol McQuire
Fuck is a nice word, but the Queen does not use it often in interviews.
Art can fuck off, but we must accept Slush - Jim Adams
This could be framed as a task by a professor teaching my work - In 10,000 words
express what 'Art can fuck off, but we must accept Slush' means to me.
An opera a day keeps the psychiatrist away
Government advice is more exact
Five operas and film scripts a day are necessary for full psychiatric health
but mind you don't overdo it.
There is a great defect of quite a number of works on this site, they are abnormal. In fact quite a few are hyperabnormal. I came fom a culture which accepted innovation, including musical
innovation, as an aim. This is totally necessary to reach the top of what is possible. Innovation is not the final aim of music, it cannot be. The aim of all music, albeit within a new normality
which was previously abnormal, is expression. Those that attain new heights have a duty to their audiences to attain stability in some sense. Some of these innovations I strongly feel need
to be toned down. It is thought by innovators that this is in some way incompatible with art. On the contrary art of any form, including new art cannot go without audiences, and new and
vital audiences exist as is well known, my work is so hyperrevolutionary that it is my responsiblity to tone it down. Perhaps innovators do not know what I mean. It is clear that I will never
attain acceptance of an idea relating money to music. This will implacably remain. I have a duty to be acceptable to my audience. It can be reached from innovation to acceptable normality
which my audience understands. Again innovators do not understand. I do not descend to the high art of the extablishment. My aim, it must be a long one, is to incorporate as much of my
work in working class culture which is totally and naturally unlike that of the paramaterised establishment, acceptable to all revolutions accepting their norms. This should be known within
revolutions already known. Knowing the answer is is solution to the problem usually turns out to be the answer itself. This can be maximised to some extent by small adjustments. I need to
consult, but this is definitely by nobody within the establishment at all.
Communism repeats itself, but I come up with a different and revolutionary conclusion of its future development from Marx.
Toasters Rule The World.
Idiocy is strength, I love it.
It is stupidity to say I do not know what I am doing.
My intelligence knows it is not the case and my theory confirms it.
Love wins even in absent logic.
It is obvious even in absent.
I say so.
The Resurection is Death becomes Life.
I still love Love. I now love all Hate.
Love loves Love forever.
After long and futile attempts to accommodate yourself to everyone else, I believe finally you have to stand up and say what you think.
On told to sit down and listen to someone who
controls the situation on what is best to do, you realise as he works out his explanation, that it is the best and you should concentrate on what he is saying which at long last contains
considerably more sense than your own proposals.
11. Like some revolutionaries the BBC do not realise how utterly revolutionary they are. The music of the 20th century has become the great achievements of the Rejected and the
Inaccessible. They have gone beyond sporadic revolution and introduced parameterised bordom in techno bursts of classic FM in ways far beyond Stockhausen's helicopter piece. It
moves around cars throughout the UK and goes way, way beyond Stockhasen's Licht, which was thought to be totally meglomaniac in its duration and he single mindedly developed
in the last twenty years of his life. This has lasted, I think, nearly 100 years. It is accompanied by a gigantic organisation that makes Stockhausen's Carre, for four conductors and four
orchestras in comparison a microsecond piece, again totally revoutionary. It is accompanied by a parameterisation involving mind control, again a musical innovation beyond all precedent,
which excludes in its parameterisation all musical development for at least the past fifty years, probably sixty and even more. I do not know what it can do more in its revolutionary activity,
except perhaps bomb itself at Broadcasting House in a dramatic and totally unexpected conclusion.
Well done BBC, I have only just realised I should listen to radio FM to sample its boredom. Utterly revolutionary. Vast.
Stop being perceptive, try being normal.
Normal people are perceptive. Perceptive people are not.
I don't remember what I'm trying to forget.
12. I accept the challenge given by the BBC and am writing a work 'The Custard' to change the ending of the work 'the BBC' by political means. This will include team work, but less than
the BBC to change the political system. With respect to custard, there will be mass custard demonstrations, and new political and social movements connected with custard. The membership
will be provided with Adolf Hitler outfits with yellow boots. There will be petitions to the BBC demanding that discussion of custard be included in its news programmes. Paramaterisation
of events will include joke Dalek (Dr Who) demonstrations against serious Daleks (BBC heirarchy - this will not be the governors, but the control between the binary opposites production
and display). Petitions which must be discussed on custard in Parliament, the production of a secret custard production facilty in Cleethops will begin, protests against discrimination against
people who eat custard, and violent responses by those who reject it will occur. Steady change of attire of men and women in the Custard Party will be paramaterised to events in BBC
programmes. Attempts to will be made to introduce mixed music in taxis. There will be establishment of a new secret custard facility at Bannana-upon-Neurenburg. Violent protests against
Dr Who programmes will take place. Daleks chaining themselves to BBC railings will protest about cruelty by the BBC. Attempts to flood the House of Commons with bananas and custard
will be made. Attempts to invade the BBC and flood its canteen entirely with bananas and custard will take place. This planned activity of a group of people will paramaterise its actions
with various events, including the BBC, the Government and Womens Weekly. Finally the sequence above will cumulate in the accumulation of funds to supply sufficient material to
detonate BBC buildings in a timed sequence. This will be made known. The explosives will be bought. No action will be taken to deliver them or explode them, but this will be unstable.
If anyone at the BBC decided in their own to select this, a series of detonations from Broadcasting House outwards will proceed. Finally as all BBC transmission facilities are detonated
and destroyed, the ruins will be flooded with bananas and custard and that will end this composition.
13. Is there intelligent life on Earth? old, and wrong, joke
14. Calming and Beautiful Music text
Before I start I would like to say something about your musical education, and without being too pushy, but I am, I am going to suggest you get as far away from the present University
system as you can. If you are a student of Cambridge University, I suggest you purchase a bicycle to do that right now. Cycling back can be done later. I don't say composing music is
impossible using a University education system, you can walk backwards from Cairo to Khartoum if you want. I just say it's very difficult. There is great possibility for constructive
change, but avoid learning their conformity rules, music is about expression and not conformity. You can adopt conformity if you want later. In my very strong opinion it is not what
music is about. So avoid the present semi-incompetence teaching, it may spread to you, and go out and develop your musical and compositonal style. Control systems don't work with
creativity and finding the truth. We must move away from the idea that expression is a prison system, with correction where it can be let out if it behaves. We must accomodate ourselves
to the idea that corrections to expression are self-imposed and need no external correction at all. Of course we can learn from ourselves, and occasionally from others. I find this external
advice is almost always useless, despite its claimed and usually bogus academic stature. Such advice amounts to how to get out of prison from those chained inside it. Yes, we must allow
criticsm, it will be of great value. Unfortunately of the present day it is the greatest impediment to progress imaginable. Recognition of freedom allows us to be free ourslves.
I would like to add an additional remark, which does not hang with what went before. Suppose I compose something and it doesn't work. What do I do? I think there are two possible
answers to that. You can put it right or you can make it more wrong. I like the escalation idea. Can't get a bank loan? Set up a bank. I am serious. Maybe you don't believe it is possible.
It is. Banks aren't set up with money. One way is to set up a legal system so they are valid. You can buy them, but unless you want to print money of some sort or other, this is very
probably too expensive for you. I can teach you how, but I am not particularly interested at the moment. I want a bath and it's getting urgent. Also do I have any fresh socks?
My music mimics and upturns what I liked at the time. Its innovations are middle class. Orchestras play within traditional boundaries, so I do not see classical pieces for electric
guitar. The word avante garde, or leading edge, is out of date. Stockhausen has become a conservative experience despite its meglomanias. Its idea that music is about parameterisation
needs subverting. It is partly that, but it has always been about breaking parameterisation, to express meaning and even when randomness is parameterised, to go beyond that to
introduce unexpectedness. Popular forms are excluded from such music. They do not end in a fade, there are no references to hip-hop, rap or techno, and they avoid music that is not
European. An exception to the gloom is Squarepusher. The music of the heart is expressed in many idioms. This is as true in Westlife as in I have a dream as it is in a tormented
Whitehouse expressing a new certainty, also good. I need to avoid orchestras and use popular forms to reach out, cutting out dead language and be working class.
I thank Marcus Exhale for inviting me to his performance at a hip-hop gig. I realised how limited my ideas were, and that probably I had stopped writing music because I had
reached the edge of what I was able to express, but I needed to go beyond and it wasn't there. At that gig I had the idea of putting Dante's Inferno to music as techno, rap and hip-hop.
It would work, but I do not need to. Schoenberg wrote his own libretto for A Survivor from Warsaw, and it works. I have may own poetry, and there has been a long-term project to
create the music for Seek Now the Truth. I was at one stage unsatisfied by its conventional beginnings. It was an idea that it might be adopted in some future performance of the
Twickenham Choral Society, where my cousin is in the choir as an alto. I then wanted to shift its musical focus to the middle east. I now know that with parameterisation between
conventional instruments and forms of noise, parameterisation of rythm to include techno and hip-hop, and including elements of rap, I can now achieve this expressively as I want, as
an overarching structure that breaks parameterisation. Newness is a disruption of the past and the contents of Seek Now The Truth I would say declare eternal verities which are often
expressed in religious services which sometimes deeply maintain conventions. Wishing to relate to everyone, I need to realise that what I have to say I should be understood by everyone
irrespective of their place within the innovation/tradition divide. I then looked at my poem Sick, and thought I could do the same there, ending with laughter of the speaker at 'joyous
genoicide' and increasing the laughter from the choir at the Nagasaki or Hiroshima bomb and increasing it at a view of a painting from above of the Gestapo shovelling Jews alive into
incinertors and a film of their naked and emaciated bodies being bulldozed away. The piece would end going downwards until it was so deep as to be inaudible. I have failed up to now.
There is still hope.
The music is downloadable. Of my eight compositions, I am hopeful piece no. 10 will be performed. Nightfall and my Sonata
No. 2 were performed at the University of Sussex
on 26th February 2009. Jug on the Table, in memory of Sydney Vale, was due to be constructed. These texts, and that of Seek Now The Truth are given below. The works (with me
on the piano if there is one, unless shown otherwise) are
15. Arnold Schoenberg: Verklarte Nacht (Transfigured Night) On hearing this recording I spoke softly to myself: Schoenberg, you are my other God!
16. Sonata No. 2: Humoresque - this seems to be the most popular of my works, Kaos and Shipwreck of Dreams (with a slightly related poem).
17. Sonata for Four Hands, performed by Glen Capra and Kevin Allen, in four movements:
Jar of Moonbeams, Dance of the Robots, Rondetto and Cave of Echoes. I met a teacher who said we should listen to music, and not talk about it. I think he read it in a book. Try it.
18. All my Love for You One of my earliest pieces (played Capra/Allen). Lovely if you like love, especially if you do it slowly.
19. Guitar Duet My first work to be performed, by David Jenner and Jon Rattenbury. To begin with I thought it was embarassing. Then I didn't know why I had thought that. It is too
repetitive for me, but a lot of people like that. Boring is nice. An idea I suggest is if its so mechanical it bores you writing it, it will sound boring when people listen to it.
20. Death Poem Words by Guantanamo prisoner Jumah Al Dossari. Emotionally it's huge. The tired understatement is apt and deliberate.
21. Threnody for the victims of Hiroshima Krzysztof Pendericki.
22. Paradise Lost Krzysztof Pendericki.
23. I Anoint my Flesh Words by Wole Soyinka, who was imprisoned in solitary confinement for 22 months for protest against the Biafran war. It is sung by Jane Richards. I am not saying
who, but my pianist abandoned me saying he did not know how to interpret it. I learnt from that not to write music that is too difficult. I can end up playing it myself. Some of my piano
playing seems amazing. It can be because it is specified as random. This work is specified precisely. I don't think it is unplayable. But certainly when playing Beethoven, for example, I
am grossly incompetent. Doesn't matter. It works. Think of the wobbles as deliberate. Shouldn't have said that all really, then you wouldn't have known.
24. The Asylum Seeker spoken by Jane Richards and me. A woman escapes a tyrannical regime and seeks haven in another country. But she is imprisoned in a bureaucratic system that
drives her insane.
25. Xena For oboe and bassoon. Sibelius wav file. Xena score here. Studying dodecaphonic music is wrong. Write it. Xena is music we are not supposed to like in a society that is not
supposed to think. To begin with I accepted that idea. After incidental listening I became attracted. After many listenings she is to me more seductive than any Bach. Sometimes the most
delighted pulsations of the heart are insignificant to others. Xena speaks to me.
26. Nightfall (c) Copyright 2008, Composition: Terence Deadman, words Jim Adams This was played by Mark Richey, tenor Kevin Starns. text. We have to recognise this does not work.
It would be deeply right and proper that it be repaired. I think some starkly tearing and simple idea be developed towards its declamation at the climatic moment.
The text works, in normal circumstances the music should work, but it is terrible. Terence is very good at expressing with great empathy the poems of someone with mental illness which
are deeply beautiful. I thought he would be well suited to rendering in music this poem which I produced for him. Unfortunately, his music is both nice and traditional, and although he can
express chromaticism well, the net result despite good intentions on both parts, and an expectation that it would work, is something that is wrong. Wrong is not bad, but it is better wrong
deliberate rather than wrong unintentional. One cannot express one's death in bel canto. The near opposite is in Disconnect 1 below. Mistakes are useful, they give us practice in how to
improve. Perhaps we have used this mistake to develop new music. This is a good way to develop new forms, and I thank Terence that our joint mistake may, like all things in life, lead to
something of value.
27.A Cobweb's Touch in the Dark This is the score. The text is by Wole Soyinka.
28. Jug on the Table. text May be performed live in Dublin together with musical recordings and spoken poetry, including Seek Now the Truth as spoken text. To be advertised under the
title 'My love is like a river' with the warning 'distressing and beautiful, beyond the comfort zone of the normal'.
29. Seek Now the Truth. text A future musical project. I am nearer understanding of a way to express this text which is of religious significance to me. It is an expression of my belief, but
was initially a reluctant task to produce music acceptable to the Twickenham Choral Society which produced impressive music mainly of a traditional type in Church or associated venues
which were usually of a religious nature. In rebellion of the idea that religion was a formality of quotations from set texts, I set about incoherently to provide a view of these religions or
none from many, sometimes mutually incoherent points of view. In pursuit of this idea I located a central idea that spanned all of them, it was my own interpretation of my aim, and at the
same time it resolved this issue of diversity as expressions of my own. This work is called Seek Now the Truth. The idea is that truth is located in scientific culture, and it is opposed in
some scientific thinking which is perhaps atheist, to other interpretations which in a wider context are the same thing. In a sense the search for Truth, or identification of the obedience of
the self to Allah or God were all different expressions across many cultures of the same idea. Often expressed in opposition, it was better to see them as the same thing. Thus my intention
became clear. It was to express in a form which in many revisions has become beautiful and poetic and which spanned many cultures the search for Truth. Having temporarily attained that
objective, and having as I considered little time but to confine this project to late retirement, I left open how it was to be musically expressed.
This is a later extension of the text that is the first draft of the description of this work. The text has had a very long gestation period, but is now complete. I think it speaks for itself as many
voices striving for one idea. I wished it to be performed by the Twickenham Choral Society, but did not enquire of any commission and introduced my project unannounced. Despite many
changes to its musical conception, it is now basically there, and I do not see any difficulty in its composition, a little large though it might be, but not large in the number of instruments to
The Twickenham Choral Society includes many fine works in standard format. I wished to extend but include all audiences, particularly the young, and interpret a text which formulated in
a sense all religions and science as well, as encompassing a Universal Religion and a Universal Truth which weall seek to reach. In this endeavour, the Christian Religion, of which I am a
part, is at its core as a belief in the commonality of our condition and the suffering of humankind in our search for the Love of Truth which passes all understanding.
Because I wished to alienate no audiences, but include many more, the music will be almost tonal except for dramatic effect throughout. I wish to encounter Arabic music, which is a
different system, within the Western one. This is not too difficult, because there is a sequence of tones in a key, but only one, shared by both. Further, I can occasionally, but not too often
stray into a quarter tone, to keep the flavour of a change of key there.
I had thought the dramatic beginning could be represented electronically, since impossible wide intervals can be represented that way, and after the Creation of the Universe, it settles down
to a more-or-less normal performance. To encourage the young, I wanted in parts to have an incessant rhythm, and almost to include elements of hip-hop, which might be recognised or not
After some preliminary ideas I have come to some conclusions of what this should be. They are not yet exact and many revisions will have to be made. I state my thinking now. I had
originally thought that the creation of the universe which begins the piece should begin with a paiste gong which I like, and perhaps on reflection I can explain to myself why. Yes, it is
about resonance, a sound of this type which is not situated in normal orchestras, but which can augment their music with drama as a conclusion in violation of the idea that they must end
in a classical way, and this refutation is simultaneously the effect which the orchestra is trying by other means to produce. Thus if it is not used too often (for me this is now a habit, or
rather a signature that I am the composer of a work) it is a dramatic ending which is enhanced. To subvert myself, the piece begins with a paiste gong and ends with it. There is a technical
problem here of fitting the paiste gong right at the beginning where the text says it should go a little later. But we are composers and can do anything we like, provided we are not trained
in composition, which means if we have not being doing it for very long we adopt composition rules and have not yet learnt to subvert them. Correspondingly the creation of the universe
should be very violent and have violins with very wide intervals and dramatic effects including electronics. I can't find much reasoning about this elsewhere in what I thought at the time,
except that I overturned that opinion, and that the piece should be entirely classical over various cultures and all those represented, and should not be music after 1900, except coherent
incorporations of incessant rythm a rap-type declarations in appropriate parts, so that as well as being available to an audience adherent to tradition, which in part what religions are about,
it would also incorporate the young who reject this traditional culture as oppressive to themselves and boring in its traditionality, which had to be accepted in enjoyable forms forbidden
by their parents and the older generation who violated their rights and declared their insignificance. Reaching out to everyone under the unfashionable idea that one should abandon one's
principles, but I declare is now in accordance with them, what is left? I think the idea that electronics be excluded in this new interpretation does not deal with the fact that it expresses
parts of the music. Whereas most of the music is about harmony and peace, others incorporate the idea that violent and sometimes unacceptable change happens. It is appropriate that
the music incorporates that idea, but minimalises it, maybe in new, innovative ways. Electronics can be tonal, but not associated with any music. Jerky violin music is easily performed
electronically, even at levels with are unavailable to performers of these instruments, and these can be atonal, or rather as Schoenberg preferred, pantonal or more readily understood,
chromatic. Chromatic is different in my idea from atonal which was rejected by Schoenberg, but was implemented later as music with no tonality. I think this beginning part should be
pantonal but not atonal. Thus in a sense it is traditional. It is pantonality confined to where it is now acceptably situated in a minor place as an expression of drama in an overwhelming
tonal idea. Since that is my aim, I accept my own reasoning. The problem then is to give coherence to tone scales which are at largest extent 24 tone, since Arabic music is of that form,
but a very restricted subset, accommodate them within traditional forms mainly confined to where they belong in the text, and accomplish the task of adding dramatic realignment of this
idea where one form is juxaposed with another where it should not be, to enhance dramatic continuation accross similar themes from different cultures, and incorporate all these ideas
coherently in harmony with the text. It is inevitable in such a construction that part of the text be amended or additions would be made. Such modifications Schoenberg could well master
without any change to the text at all, but I am not so competent and find sometimes lazy is better than exploring too much (Schoenberg wrote The Ode to Napoleon for the same music
in German and English. This is a remarkable feat of computation. The unfortunate thing about this technical virtuosity is that some think this is what Schoenberg is almost all about. As
Schoenberg mentioned on several occasions it is entirely subsidiary and even incidental to his aim of expressing his musical ideas, very often intense and dramatic in their declaration of
the deep values which he holds). I think that is about it. There is much more to do. I hope it will be done, but it will probably be later. Being a mathematician I should state what later
means. Being not a politician intent on seeming decisive, it is more prudent to say I do not know.
30. Professor Peabody's Automatic Underwear Device. text This early text could be performed.
Interlude: Explanation of subsequent works, why and how they were produced and how they can be understood.
31. Inferno. This is in three parts. Part I involves people with no faces, like egg shells, surrounded by white lacelike garments with a white enveloping undergarment and slender arms.
They walk about slowly and aimlessly. There are various subscenes and subportions where partitions are put across so film scenes can be blocked off, or in one case, where skeletons
dancing before a black screen face on are later revealed as dancing with their backs to the audience. Later, before a screen, handsome naked men with 12 inch penises erect but not vertical
in a line move slowly towards a line of naked women, all with artificially large breasts, where only the first caresses the first woman. They all have identifiable black pubic hair. Basically
Satanic, but rather more atmospheric than Prayer to Humanity (which anyway has no music). The music is largely tonal identifiable electronic, with no common instrument connotatons,
and some background noise incorporated. A choir with sounds but no text accompanies the reverberating voice of the text, to accompanying electronica. There is no particular rhythm, but
the music is rather slow. The music is accompanied by films invoking death in many forms, sometimes in sections which are partitioned off by screens moved from left to right by people
moving slowly in lines. The text invokes poetically the End of Everything in many forms. Part II is Dante's Inferno, in English. To expand what I have said already, this uses a marimba
note in 4/4 unchanged throughout the piece. It is combined with noise and musical instruments that dissolve into noise. For rap artists, screamers, and spoken rap choir. As the piece
progresses, more text gets interleaved, the rhythm increases, and the volume increases. A bit like The Rite of Spring, but more frenzied. Ends abruptly with a paiste gong. Part III denotes
how the End of Everything becomes physical. It has many manifestations. There is a section, a part of three, with a backdrop of Mars where the disembodied text says (there are two people
in white moving from left to right whilst this happens): Where is this? It is Earth. Its redness is redness of the dead. They died in heaps upon it. Great is Lucifer in his Ending. All will cease
to exist. The Martian backdrop goes. The couple reach an area of the stage which slowly elevates, presenting new films. Similar text accompanies invocation number two, the explosion
of a planet, where its coordinates are given and the third, similarly the explosion of a galaxy. In each invocation, there is an identifiable sound. In the final part the people with egg like
faces in a backdrop mainly in black are accompanied by scenes of atrocities as abstract paramaterised accompaniments to the music which is losing electronic tonality. A partition slowly
drops vertically. I am not being presciptive, experiment what is best. Maybe the partition is not vertical, 90 degrees, but 60 degrees. Its partially visible structure is subject to viscous liquids
from the top, some of which may be blood. As the partition drops, there are three instances of the identifiable sound. The aimless egg people stop this and at each identifiable sound the egg
people move back one step in unison. The fluidity of the skeltons is replaced by three different static poses. The handsom men and voluptuous women begin to move slowly and aimlessly
about. As the descending partition reaches the visible top of the performers, they freeze in mid motion. As the partition descends to completion there are three instances of the identifiable
sound. Finally the music becomes an amalgam and development of the three parts. The four marima notes are interspersed with four rests. The paiste gong appears three quarters through
this episode. A screen is pushed from left to right by an exhausted man low down in rags with partly visible flesh. The screen contains a large portrait of the political leader of the country
at the time of the performance, in greyscale. A Gestapo officer approaches slowly from right to left, and in the climax, in three motions the man in rags, seeing he is about to be shot, looks
up and moves backwards in three ineffectual steps. A gunshot to his head with a state of blood accompanies the electronic end of the piece.
If they want to, people should be allowed to scream at the end of the piece.
32. Modern music in the West bestrides two giants: they are Mozart at its beginning and Schoenberg at its end. Between are many accomplishments.
Piano Concerto Op. 42 Arnold Schoenberg, Brendel/BRSO Kubelik.
33. Sick. text To expand on what I have already said, the piece begins with a quote from Schoenberg's piano concerto where it becomes a march, electronically enhanced. This is repeated,
with slight variation on the electronics. The background is red and a man in a white cape ascends a pulpit, as the red begins to pulsate. A dodecaphonic descent of violins with strecking
and drums begins the section for the choir, uttering vowelled 'ar' in dodecaphonic counterpoint, followed by paiste gong. The speaker begins the text 'after the triumph and the defeat ... '.
All film is low contrast with a light blue tinge. The text 'some cried for peace and were shot' is accompanied by a backdrop of someone shot through the head. The speaker smiles a little.
The phrase 'to dig their own graves' is accompanied by a picture of naked Jews with shovels in front of an enormous grave as happened in Poland. At the conclusion of the increasingly
hysterical recorded laughter of the piece, the backdrop in black pulsates as the music moves and pulsates downwards so deep as to be inaudible and the pulsation from dark to light gets
darker and darker, ending in blackness and silence.
34. Disconnect 1 This is intended to introduce the first of four new musical styles. This is Earth Lunatic. The others will be Martian Dielectric Materialism, Martian Underpant and
Martian Snot. The opera electronica Inferno above is mainly Martian Snot, although it contains allusion to Underpant. Sick is both Martian Dielectric and Martian Snot.
35. Libretto for the Eurovision Song Contest I have noticed that Mistake is the most emotive of musical styles. I think this little song expressed in Mistake is for me deeply lovely.
36. Geriatric Gentleman A spoof.
37. The cock that expanded to the Great Wall and filled the cunt of the Great Void. This work is an exposition of Martian Dielectric Materialism and Martian Underpant. It contains
no Snot. It begins quietly with an exposition of vertex operator algebras to a backdrop of films of sexual processes in living things on Earth. Males and females with pink cylindrical bands
saying GAY, LESBIAN, BISEXUAL and STRAIGHT (presumably mainly STRAIGHT) undress in front of the audience and proceed to mingle with them, stroke and caress them. They
withdraw to a simultaneous detailed exposition of the Kerr solution in general relativity and an account given by Dirac on quantum electrodynamics. They are in a hall where the sprinkler
system is in operation and it is lightly turned on, and after 12 seconds, off. Members of the audience are invited to the stage to play football. Simultaneously there is an announcement that
the hall may be escaped by a tunnel. The audience who try to escape are stroked on their bottoms and attempts are made to unbutton and unzip parts of their clothing. If there are not enough
members from the audience to play football, they are lovingly escorted by members of the pink team to the stage and told to strip off below their waists. Irrespective of whether this is done
or not, the game of football commences. Meanwhile there is a film of the exploration of the outer planes and their moons. The audience is subject to three bursts of the sprinkler system of
great coldness and increasing length. The game of football finishes with a short whistle burst, and the non pink players are told to put on their clothes, whilst a film of the galaxy and star
systems then appears in the background. A pink person selects a fake person from the audience and they go to an on-stage cubicle. The film sequence describing the physical characteristics
of the Great Wall and the Great Void begins. The auditorium dims and reveals that in the interior of the cubical the pair are having sex. The fire alarm goes off and someone suggests the
lights of the auditorium go on, and the audience proceeds out of the auditorium via the tunnel. The sprinkler system goes on with warm pleasant water which increases in pressure. The film
continues with a visual description of the Great Wall and the Great Void. The piece finishes when the audience has evacuated the hall.
There should be aftercare for this work. People should be warned in advance, and storage for basic items which might be damaged should be provided. Care should be as good as can be
afforded. People should be given returnable towels so they can dry themselves down. They should be given something sufficient to wear, they should not expect to be cold and certainly
not be expected to die to death of cold on the way home. They should be given a bag to put their wet clothes in.
38a. For Republicans: Apprentice Boys. To celebrate the Apprentice Boys Parade, especially for gay men including those who like beards and dressing in dark severe women's clothes
and women who are strongly attracted to men with a great physique. I had seen problems in this, and they are now very apparent to me. The Irish have been persecuted by people like me
for centuries or longer, and it really goes against the grain to put a deconstruction there. But if you agree with equality, you agree with equality of persecution, so it seems better to share this
between Republicans and Ulster Unionists and divide this into two different pieces on different subjects. I think the first might have the man in a bowler hat including a tiara representing
the queen, and he is reading The Times,. For Ulster Unionists it is right to point out antisocial behaviour in a social group. It is not acceptable to attack a sense of cultural identity in any
form, even when it is associated with that antisocial behaviour. The problem is how to subvert the original message that Unionism was so right wing that it denied rights, including gay
rights, whilst at the same time asserting, perhaps even with force, the idea that Unionism is allowed its parades, and even in total subversion of itself, they can be an affirmation of gay rights.
This was not the original intention at all, it was not even on the horizon. I need to find out more about what the Apprentice Boys Parade is about, which because of the dire UK education
system we in England know nothing about. If we found out anything about Ulster Unionism, we might be obliged to find out how the Republic of Ireland was formed, which some of us
know, but a considerable number do not, no longer worships the Queen. I think a necessity here is to think that it represents in some way or other an authentic declaration of Unionism,
which I also understand, albeit weakly, is a situation of persecution in a different sense.
38b. For Unionists: Prince Charles in Paramaterised Stockhausen Thingy. Includes the song Prince Charles Is Nice, But Rather Rough, But Actually. [(refrain): I'm going to the toilet, but
I can't wait to hear your song/All you need to do is try. Plot: Prince Charles has directed an Mi5 plot that he cannot tie his shoelaces. He ends up directing from afar with sensble advice
how the UK Mars Programme can integrate to establish a Colony on Mars. Although unable to establish a monarchy on Mars, and concurring to international advice on this issue that the
presence of other states with political structures different from the UK made this impossible, nevertheless he is able to reveal secretly (Mi5 plot) that the idea that he was unable to tie his
shoelaces was in fact due to the will that to establish the Martian Colony and its further extensions further out, etc. for which he had along time ago sought expert advice and now has secret
plans (with other secret international organisations) to lift the spirit of the British people on this great acomplishment with minimal help and greatest effect. In a interview he revealed that it
did not matter whether or not a joke or whether or not the situation was real. Even if he was a willing accomplice, the lifting of the British spirit would happen, and that the very idea would
increase the estimation of himself, whatever the outcome. It appears to the writer of this text, that Prince Charles will help whether he assists it or acively opposes it. It cannot do any harm.
It could do great good.]
39. Yes this is totally bizzarre, and so am I. It needs subverting by some obvious but nondislocated normality. I had not even thought of this when I wrote it.
The Armenian Genocide. Overall the music is jolly and quite normal apart from car door slams. It may express poignancy and depth, and ascends occasionally into rapture, or the
expression of musicality which is compelling, uplifting, including door slams, and dramatic. We think dance is about rhythm, and the music is designed with this as the central idea. It also
contains gunshot sounds, including machine gun fire, with accompanying films, including sheep being killed in an abattoir, people eating a non vegetarian breakfast, seals being killed, fish
catches being hauled out and whales being killed. The ballet has five Adolf Hitlers, who should be of vey similar height and build and be as realistically dressed as possible. Beneath their
costumes they have red underpants where at the back there is a white circle for each buttock each inscribed with a black swastika. They express themselves formally to great effect, although
there may be variations with dramatic intent. There are seven female Wehrmacht officers with machine guns. They are wearing bright red lipstick. Beneath their waists they are wearing
classical ballet attire. They should be classically trained and be able to express classical movements with precision. There are three Greek policemen (who wear white). They are acrobats
and should be able to leap into the air, perform somersaults and run about. The Pope - a tap dancer, is accurately dressed and has a crook, which he uses in his tap dancing routine. His
uniform terminates above the knee. He has black tap dancing shoes and black socks which go three quarters of the way up to the knee. Each sock has three white crucifixes down one side.
There are five Muslim women wearing burkas, each pushing round an empty supermarket shopping trolley. They have white gloves so that no part of their anatomy is visible and they are
dressed from head to toe in black. They move their trolleys around slowly with very limited variability. There are a number of concentration camp inmates wearing pajamas who pass
around supermarket quorn, tofu and other non-meat vegetarian dishes to the audience. The amazing athlectic dynamism of the Greek policemen is contrasted with the restricted movements
of the women in burkas slowly pushing around shopping trolleys.
There is a scene where the five Adolf Hitlers stiffly dance around in a circle (with door slams) to Prokofiev's Dance of the Knights, accompanied by the Greek policemen in wild leaps and
the Muslim women in burkhas slowly moving with shopping trolleys, finally exposing their Nazi underwear at the conclusion of the piece.
40. Prelude to the Genesis Suite Arnold Schoenberg.
41. Friede auf Erden Arnold Schoenberg. This is the most eloquent exposition of Rejected music and the most perfect music ever written. Schoenberg, whilst I live, I will never reject you!
42. The Labour Party Conference in Hell, Ascent to Semievil Conservatism and the Government of Love. I have decided to accept this and later with due respect to myself as both
the refutation of my culture and its great ascent. This greatness is asserted by many genuine great little people. They assert the integrity of the soul. We cannot defy it anywhere. It is
everywhere great and ascends beyond mere location to the highest location of all. Its location in truth, which some deny, and others, and as in this, deny this denial as the greatest cuture of
true ethics, oneself. As an authentic rendition of high middle class culture which regards itself as modern, indeed I deeply cannot get away from this idea. I cannot but accept its norms, they
live within me. Norms may be augmented. They should not be denied. Origin is no indicator of intent anyway. Culture is expressed in many mediums, and so is this. Indeed within its own
culture which was and still is mine, I think in this medium and perhaps but I do not yet understand these future forms, my greatest work. It would be a total denial of the integrity of due
culture which it acclaims, to begin it instantly by refution of a discussion between the cleaners in a concurrent rehersal. It is me.
Codirected by Alphonse von Kelle Custada Artinez and Bertrand Sludge. A Funny Labour Musical. The aim of true Communism is love. Actors: Tonie Blair, Gordon, (Alistair, in aircraft
film with Tonie Blair), Three Delegates in relaxed modern attire, Three Civil Servants, Rothschild, Three Muscular Men in Rags, David Cameron, Ashcroft, Three Daleks, May, Boris
Johnston, (Jonathan Harmsworth-Smogg in film with May), (Putin the agent of Rothschild in films giving instructions) and Three Female Delegates traditionally dressed with blue hats and
bright mid blue attire, black shoes. There are three levels. The upper level is available for wide film and is black throughout all sections but the last. There should be no obtrusion of the
stairwell so that films are obscured, but the decent of the Three Delegates to the higher stage can be so part of them shows above. Below this section there is a descent stairwell from upper
right to higher stage left to the higher stage, which is partitioned nearly midway but more to the right and is 7 feet above the lower stage. This partition will be moved entirely left until it
disappears. There is a stairwell on the left into Hell below, and a mid stairwell which is covered. It has steps with a red carpet and a decorated gold ballustrade. None of this is visible and
the covering should be unobtrusive, but removable. There is a screen in the middle level where these films are shown. It is mid stage and occupies the left of the partition in the Labour
government and after the partition has been moved, and to the right in the Nazi government. There is a small table with three flowers one red, one yellow and one blue in a glass jug near the
computer. There are various Salvadore Dali objects in Hell where the lower stage is. They do not appear visible until Tonie Blair reemerges for a talk with Rothschild and the Labour Party
is expelled from Hell. There are Hell flames visible in Hell at this phase of the musical. There is a large computer to the right of the higher stage. There is also a film sequence with a faded
still in blue of Margaret Thatcher which alternates with the same backdrop where Thatcher is replaced by a clear skull. This alternates according to the music, and flicker can be rapid. On
film Salvador Dali and his artifacts appear in the hyperunreason section and after, derived from the almost nonexistent information on the Rothschilds on the internet, where Rothschild
declares his intentions. The higher stage should be able to be lit up alternately with the lower stage. This appears in the clash between May, Johnston and Putin on film combine with
statements from Rothschild below. There is a repetitive motif which continues throughout the whole musical, but the scenes in Hell are accompanied by music which is incongruous and
bizzarre but strictly paramaterised combined with music from the higher level. In the final section the higher level film is dawn and then sunrise, followed by a view of a rainbow covering
a blue sky which fills the whole screen. In the final incident the film is replaced by a galaxy and the rainbow transforms to a type of circle which pulsates. This continues until the audience
has left the hall. The film is accompanied by Schoenberg's Friede auf Erden (Peace on Earth) with choir in its entirety. This piece occurs hidden or explicitly as much as possible but
without intrusion in parts of the opera as it proceeds. During the scene all occupants of the higher level rescue those from the lower level and offer them emergency assistance, directed by
Gordon, except for the incident with Rothschild. During the incident the screen is replaced in the manner already indicated and the music of Greensleeves. The music is always background and only one interruption is in it. This section will be accompanied by a woman's voice which nowhere occurs elsewhere and is a certain sense a complement to Rothschild's voice, and of sufficient loudness to be heard but in inner peace. The final subversion as the audience leaves the hall is electronic guitar music.
There should be the following announcement displayed as the audience filters in.
Any declamatory announcements should be made in this period. No subsequent interruptions are intended except for allowed periodic breaks.
The musical begins in silence with two captions presented in sequence. Each caption is presented for four seconds and one second for its removal. They are.
EXPERIMENTING TOO MUCH TURNS OUT TO BE A MISTAKE.
THIS IS GOOD PROVIDED IT ISN'T INTENTIONAL.
The following caption with pastel green background of four seconds
The stage is in darkness and an electronic cluster defining a beat which is a basic parameterisation continues unchanged throughout this section except in the subversion. On the second
beat this is augmented by the sound of electronic wood blocks in the same way, and the scene of the highest level begins to flicker, which should always be sufficient to see what is going
on. The Three Daleks are proceeding in line from left to right. On the fifth cluster the voice of Rothschild, which is always reverberant, but in this case it is enhanced says 'Power' which
extends for two clusters, then two clusters, followed by 'Come' for two clusters and a paiste gong in p, then loud 'Obey me', for two clusters, then two clusters, the Daleks say together not
too loud 'We agree' for two clusters. For four clusters there is a disembodied sound which is a combination of Rothschild and the Daleks, which is also not too loud which says 'We will be
your agents'. Then there are two clusters, then four clusters, the first three of which have trumpet blasts. Whilst the Daleks begin to circle around the choir begins for three clusters 'Obey,
obey, obey'. The subversion begins [Chuck Berry: My ting-a-ling, together with a bicycle bell] There is a fourth cluster and three further clusters. The choir sings 'Obey', Rothschild says
'Obey' and then the choir and Rothschild intone together 'Obey'. The Daleks cease moving about in a circle and continue moving from left to right. There are four clusters. Then four
clusters are augmented by a continuous low tuba note, the first three of which are also cor anglais blasts. The next four clusters are augmented by three medium notes from the choir. In
the second and fourth cluster the flickering increases together with a high scream, for the next four clusters the choir then intones a continuous low note, there are four clusters. The scene
then reverts to darkness. The Daleks should be somewhere stage right.
To music like Inferno Part II, the Three Delegates descend to the higher stage and assemble stationary in a line to the right in the left partition area. There is the sound of cellos that glide
around, followed by the sound of a paiste gong. Tonie Blair in uniform as in Sick enters from stage left. At the sound of multiple subdued paiste gongs and clapping, the delegates bow
down declaiming in disembodied voice 'O Satan we salute you'. To sounds of trumpets from their low positions they raise their arms in Nazi salute. To a higher disembodied sound of
greater clapping accompanied by 'We love you Tonie' Tonie Blair lifts up his arms and declares in disembodied voice 'Fellow delegates'. The arms go natural. 'Today at the Labour Party
Conference in Hell we have a task before us'. Throughout this there are sporadic electronic applause bursts which terminate abruptly. 'The task is more than the creation of a new society,
a society of National Socialism that will last for a thousand years'. A paiste gong is accompanied by a choir in unison. The Three Delegates, maintaining their Nazi salutes raise to their feet.
The clapping ends. They join in applause together with recorded applause which is extended and sounds genuine. 'Today after the genocide in Iraq I have more to tell you. We have killed
one and a half million people. But now the British Empire will extend further.' Cello double note and pause, twice, then after this continues the choir, recommencing in unison, and then all
these stop. There is subdued clapping and subdued multiple voices. 'We will extend the National Health Service further.' Cello double note, trumpet four notes, cello double note, cheering
raising upwards. Trumpets cease. Tonie Blair smiles. 'No. Delegates.' Extended louder cheering, rising. Tonie Blair raises his arms. 'Delegates'. Cheering dies down, cellos cease. There is
murmering in p. Bair puts down his arms. 'Beyond all this we have Gordon Brown'. Paiste gong. There is applause which is half of that for Tonie Blair. It is accompanied by cheering which
might have elements of groaning. The cellos glide mildly about.
Gordon enters from stage left, bent over. The Three Delegates disperse, Tonie Blair moves down the steps from the higher level to that below and disappears from sight, the Three Civil
Servants move around on the left with Gordon centre to the screen. By this time the stage has become slightly more well lit than before. The Civil Servants are discussing matters which are
audible but whose content cannot be discerned. A clear voice says 'We have a problem. There is a problem.' The still of Margaret Thatcher appears on the screen. There is a disembodied
voice with no discernable location which says 'There is no problem'. Gordon looks up. 'Who are you?'. A voice in strong whisper says 'You know'. The voice of Rothschild intervenes.
'Where are your coordinates?' She replies as a noise sound intensifies and the screen begins to flicker, in an whisper again 'The other Grantham'. With a final soundburst the noise stops and
the screen goes off. The music continues louder and with long cycle rhythmic bursts. The Civil Servants are discusing matters in more intense but still indiscernable tones. A clear voice
says 'There is another problem.' After another short musical interlude, Gordon asks 'What is the problem?' The original voice returns 'It is more serious'. Gordon asks 'Who does it concern?'
The voice of the Civil Servant, distorted to become like the Margaret Thatcher whispers says 'It is a first class military matter. We know of David Kelly'. An electronic tonal pulsation begins.
The voice of the Civil Servant returns at greater volume. 'He is dead'. To sound of electonic trumpets the film of Tonie Blair and Alistair on a plane appears. The voice continues
'This is a plane to Japan'. Alistair says 'The job is done, David Kelly is dead'. Tonie Blair looks taken aback. 'Who did that?' Alistair replies in a very loud voice 'You orderd it'. The film
immediately cuts out. The music continues in short pulsations with 'It is a problem' repeated, dying out. There is electronics like trumpets. The higher stage and lower stage alternately
flicker. The upper stage lighting dims and all actors there eventually are still and almost undiscernable.
A whispered Rothschild long voice says 'Come'. A paiste gong is stuck as Tonie Blair enters the lower stage, stage left. The Rothschild voice continues 'You have failed'. Tonality starts
again in bursts. To cello rhythmic undulations Tonie Blair replies. 'I have sacrificed on your behalf. See the cattle I have burnt.' Rothschild responds 'You have been removed'. The trumpets
return in bursts more loud than before. Tonie Blair leaves stage left. The lights dim below, and flames appear there. Above the stage flickers strongly as a crescendo of trumpets and a choir
reveals the Three Muscular Men in Rags moving the partition towards stage left. There is sound of violins in wide intervals occuring in regular bursts. There are periodic cymbals and drum
rolls. As the partition moves left Gordon and The Three Civil Servants move back to screams and thunderous bursts. Finally they are removed, stage left. As The Three Muscular Men in
Rags disappear stage left there is a paiste gong.
All previous parameterisation ceases. It is replaced by the sound of an electronic organ which also nowhere occurs in the piece. The music becomes extremely regular and rythmic. The
organ is in two clusters, the first repeated four times higher than the second also repeated four times. It is accompanied by electronic sounds which are identifiably drum beats. There are
regular clusers of the choir in one note, replaced in exactly the same way three quarters of the way through by a lower note. As the music progresses it starts very loud and progressively
gets weaker until when the Three Men in Rags at the end of the queue reach the right stage exit, it is hardly audible. This music is accompanied by regular clusters of electronic noise,
followed by short unvaried intense screams, and the film displays one nuclear explosion repeated which flickers and finally by Putin films in the same way. The queue progresses along
the higher level from left to right in sequence with Boris Johnston, May, Ashcroft, the Three Female Delegates and David Cameron, in jubilant goose steps which are almost athletic.
They are followed by the Three Civil Servants who walk stiffly and more restrictedly in the same way. Tonie Blair is behind with hands behind back and face looking upwards. He is
doing an affirmative but more restricted goose step. Behind Gordon is bent a little, and walks stiffly forward. The Three Delegates follow even more stooped than Gordon. Finally the
Three Muscular Men in Rags stumble about after them. The progression is extremely well lit to begin with, and proceeds to be less so and finally becomes rather dim.
A very long and low imitation of paiste gong and continuous low sound from the choir begins. The original parameterisation previously interrupted then restarts. The higher stage lights
up from darkness to reveal the Three Civil Servants murmuring towards the left of Ashcroft and David Cameron. Ashcroft is standing and is looking down on Cameron who is relaxed on
a simple arm chair. A Civil Servant then walks behind them to the computer. The computer is lit and dimmed in regular sequence. Ashcroft says flatly 'We have won the election'. David
Cameron says 'We must prepare for the Scottish Referendum.' The Civil Servant returns to the pair reading a long roll of computer output, saying 'Analysis says the the Scots have won.'
Ashcroft replies. 'That is easy'. David Cameron says to the Civil Servant 'Let me have a look at the result. Yes that is difficult, that is very difficult.' Ashcroft responds 'It is easy'.
Cameron replies 'We must have a conversation with MI3.' There is a paiste gong and the lights dim to darkness.
A repetitive cello refrain accompanies the lighting of the stage to reveal the Three Female Delegates surrounded in a horse shoe formation of simple, comfortable but not wooden chairs
in conference with Ashcroft and David Cameron. A Delegate says 'Yes we can do it, but it will be detected'. Ashcroft says 'All we have to do is put in Russian observers, then it will be
ignored. The Daily Mail will confirm what we have to say.' A film of Jonathan Harmsworth-Smogg appears in the background, but he is waiting to be spoken to and there is no conversation.
Cameron says 'I think that is about right. What other problems do we have?' Another Delegate says 'There is widespread corruption, but the operation is complex and requires a substantial
amount of planning.' The original Delegate says 'There is no question we can do it, no question whatsoever. It would be useful if the result was decisive, then there would be no question.'
David Cameron looks up at the film 'Jonathan, do we have your full support?' Harmsworth-Smogg replies 'What do you think?'. The lights dim.
The choir in repetetitive clusters is accompanied by castanettes in short clusters. There are cor anglais and tuba clusters repeated, followed by light trumpet clusters. David Cameron
declaims. 'We have won the election.' A Civil Servant says. 'There are many elections.' Ashcroft says 'This is easy'. A Female Delegate says 'It is dangerous to use Cambridge Anal-ytica
for the Brexit Referendum'. Ashcroft says 'Of course not, I have seen Mercer in New York. We have the media. It is easy.' The spotlight falls on Cameron as the music intensifies and
he declares to the audience, 'We have won. The Conservative Party will be in power for ever.' There is applause which intensifies, with the Three Female Delegates revealed smiling and
clapping their hand on the right, and the Three Civil Servant politely clapping on the left. As the applause intensifies there is a roar of acclamation. The following subversion takes place
[Subversion, Mick Jagger, Satisfaction: Can't get no ... Can't get no ... Can't get no genuflection ... (similarities with Three Female Delegates, Three Civil Servants and David Cameron)
can't get no erection, We need a new election, For the erection tonight; It's an insurrection] To repetitive drum beats there is repeated a repetitive scream followed by repetitive violins on
A very simple tonal phrase begins, which is to consist of an eight tone row and one manipulation. It repeats three times and has faded completely before the text begins. The lower level is
revealed and amidst intensifying flames Rothschild says 'You must be destroyed.' The hyperunreal sequence begins with Dali objects in film displayed on the upper level. Parameterised
parts of decriptions of the Rothschilds obtainable on the internet, each part declaimed by a separate and distinct voice, both male and female, with strange incongrous sounds. David
Cameron says 'I have won the election.' Rothschild replies 'You will be utterly destroyed.' David Cameron responds more weakly 'I have won the election.' Rothschild responds 'You will be
protected. you know we can offer you that.' Flames on the lower level intensify and on the top level begin. There is a rythmic cluster with tuba and cor anglais with isolated and repetitive
high screams. A paistie gong sounds.
The music is very light. Parameterisation is standard. Ashcroft and David Cameron are together. Ashcroft says. 'I control you'. David Cameron replies 'I won the election, I am in power. I
was elected. Ashcroft replies 'I think you may find you were elected by pigs.' David Cameron shouts 'Fuck off'. Ashcroft leaves stage left laughing. 'Get out of that one. I am sure you can.
You will be replaced.' There are light violin glides. The cello starts high and glides downwards successively to the end. Cameron is pacing to and fro. A Civil Servant says 'You must loose
the Brexit Referendum.' Cameron says 'How do I do that? The Civil Servant says 'I think you might find that quite easy'. Ashcroft reappears stage right with the computer. There are
mechanical sounds. The Three Civil Servants busy themselves around amidst computer output. There is a sequence of drum rolls. David Cameron walks about in a relaxed way backwards
and forwards to the left. The Three Female Delegates appear from stage right. Ashcroft asks. 'What have we got?'. A Delegate answers 'Its easy. Banks has got 11 million and 36p. They
know but nobody can do anything about it. Its far more subversive than that. I am not sure, Mercer in New York is with us, he has got Cambridge Anal-ytica here. The funds are enormous.
I don't know how much. At the last count there was 31 million and rising. And this just overspending. Putin is in control. There is nothing anyone can do about it. We have won.
The paramaterisaton is medium standard. Cameron is mid stage on a chair surrounded by the Three Female Delegates. The computer on the right is in operation by the Three Civil Servants.
The parameterisation becomes more rythmic but not intense. The Three Daleks appear from stage left in a regular line a proceed to occupy a position near David Cameron. David Cameron
is pampered by the Three Female Delegates. One powders his face with a powder puff. One combs his hair with a comb. The third straightens his tie. A Dalek says 'The broadcast is about
to begin'. A Civil Servant appears near the centre and says. 'We must move'. An intense rythmic cluster begins with loud medium violins. The Three Female Delegates move off away from
David Cameron moving like robots either parallel or at right angles to this in random motions and eventualy escape stage right. The Civil Servant move discretely off set, stage right, but
the other two remain, stationary. The lighting is focused on David Cameron and the surrounding Daleks. A choir sequence begins in shortish clusters repeated. The Dalek says 'You must
smile'. Cameron smiles. There is a short sequence of repetitive drums, whilst the Dalek says in a longly extended voice 'Relax'. Another Dalek moves to the computer which now becomes
illuminated and says to the Civil Servants who have their backs to the stage 'We must have authorisation. Obtain this authorisation from Dalek Control.' A Civil Servant obtains a piece
of paper from the computer, and proceeds to show it carefully to the Dalek. The Dalek intones. 'We may proceed'. This section dims. The Dalek on the right says in a different voice
'Authorisation has been obtained.' the middle Dalek says 'We may proceed. Begin countdown procedure.' The right Dalek says ' Smile. You are very human.' A drum sequence in consort
with the sequence very human but after it begins. The Dalek says 'Very human.' The Choir responds 'Very human. Very human. Very human.' Low electronic bursts begin. The Dalek from
the computer moves centre stage and the centre and rightmost Daleks say in unison 'Countdown sequence begins.' The rightmost Dalek says 'You are in control.'. The choir repeats 'Very
human. Very human. Very human. Very human.' They rightmost Dalek says. 'We must obey'. The choir repeats 'Very human. Very human. Very human. Very human'. Softly at first the
sequence begins 'Relax' (Dalek), 'Control' (choir), 'Obey' (Dalek), repeated four times, followed by the choir repeated four times 'Very human.' The middle Dalek says 'BBC transmission
procedure is in operation. Sequence begins.' The computer become more well lit up and the Civil Servants now accompaned by the third busy themselves but still in background. 'Relax'
(Dalek), 'Control' (choir), 'Obey' (Dalek) said once is repeated entirely by the right Dalek who moves forward to David Cameron, and then the sequence begins again twice. The music
intensifies with 'Very human' repeated by the choir four times. Then the full sequence 'Relax' (Dalek), 'Control' (choir), 'Obey' (Dalek), repeated four times, followed by the choir repeated
four times 'Very human.' accompanied by tuba sequences in unison begins. Finally to the choir on 'Very human repeated incessantly but diminishing whilst the spotlight on David Cameron
intensifies, the right Dalek says 'Smile', the music stops and the lights go out.
To very low sounds, standard parameterisation, Cameron strides from stage left and declaims 'We have lost'. A Dalek centre stage responds 'No, we have won the Brexit Referendum.
You are to be replaced. Let us escort you'. They proceed to stage right. To trumpets in the same form as the electronic organ and proceeding in exactly the same way as the scene where
the actors in the opera all walk left stage to right, but with the standard background slightly increased, to the sound of a pastie gong Boris Johnston and May followed by the Three Civil
Servants stride to centre stage. The music sound is diminished and the film screen alternated between images of Jonathan Harmsworth-Smogg and Putin.
To repetitive sounds of electronically enhanced wood blocks and a score which is decidley electronic, The Three Daleks are in line followed by May on the left of the screen and Boris
Johnston on the right. They are having a conversation with Putin which increasingly becomes more angry. May asks 'This poisoning, who did it?' Johnston says 'It was by you, I am over
one hundred percent certain.' The Daleks say, not too loudly but in unison 'We agree'. With changed lighting emphasis fom above to below Rothschild comes in 'It was an agent from MI3'
Reverting to lighting above May and Johnston say not quite together 'Poisoning'. Putin says 'It was an agent from MI3'. To flickering of lighting between above and below Rothschild laughs.
The stage is occupied at the higher level. A static picture with Putin in an official function is on the film. The Three Delegates are standing very drooped on the left, Gordon is to the right
of them, drooped. There is a slight gap and Tonie Blair is looking fairly upwards in chains further on the right. The Three Men in Rags are huddled together further right. Three Daleks are
circling them. There are sonic bursts under standard parameterisation. The Daleks stop. Two move backwards. The third Dalek says 'Down'. The Three Men in Rags sit down. The other two
Daleks move to the gap and say to the Three Delegates and Gordon Brown 'Obey'. They prostrate themselves towards the third Dalek. The picture on the film changes to a smiling Putin
with full face forward. There is a rhythm and the Three Civil Servants move about whilst the words 'The Conference' repeated four times occurs. The two Daleks meet them and say 'Down'.
They prostrate thenmselves towards the third Dalek. The rhythm changes to conform to the next music. [Subversion: This is then replaced by trumpet music which is similar to and is
usually called Handel's Trumpet Voluntary, but which technically belongs to another composer. This is joined by choral accompaniment in unison with it as Ashcroft, David Cameron,
May and Boris Johnston arrive from stage right in line. The intensity of the music increases as this occurs. The word 'The Conference' are repeated four times. The Three Female Delegates
rush in an stand to attention as a smiling May lifts her right hand to Boris Johnston amidst applause, including from the Three Female Delegates and then her right to Ashcroft and David
Cameron, which applause increases. Amidst a strong repeat of the voluntary accompanied by the choir the voice of Rothschild saying 'Come' appears from below and the Three Female
Delegates rush down the central steps. The line of Conservatives moves forwards smiling]. A tune of 'The Conservative Party, the Party, the Party' repeated twice by the choir, the second
time with accompaniment with vocal trills without the words but in unison, which continues as decoration for subsequent text. The Three Female Delegates pull away the cloth hiding
the central stairwell. It has a red carpet and a decorated gold ballustrade. Smiling as they move down the stairwell in sequence the refrain 'Will stay' is repeated four times followed by cor
anglais and tuba 'In power' repeated four times followed by an initial cymbal with 'For ever' repeated four times. Two of the Three Daleks move stage right and point together towards the
stage. Rothschild repeats 'For ever', then together with the choir 'For ever' three times. The third Dalek points away from the Three Men in Rags towards the other Daleks. The two Daleks
to the right begin repeating in low voice continually 'Exterminate'. The film of Putin is replaced by one with no expression and fades a little. The refrain 'The Conservative Party, The
Conservative Party, the Party, the Party' continues. The remaining Dalek on the left moves over to the other Daleks on the right and the refrain backdrop 'Exterminate' is repeated at slightly
higher volume. The expression of Putin on the film becomes forbidding. The refrain 'Will last' is repeated four times as the Three Men in Rags begin to stand upwards. The spotlight around
them becomes a little greater. To Drum rolls the words 'For ever' occurs four times. To weakened applause May raises her right hand to Boris Johnston on the right, Ashcroft bows down on
one knee and Tony Blair turns stage left as May raises her left arm to David Cameron on her left. On the last occurance the Three Men in Rags stand in a line and move forwards together. To
a cymbol clash, the refrain 'Exterminate' increases in volume as the words 'The Conservative Party' is followed by the ending of the Putin image, followed by 'The Conservative Party, The
Party, The Party' and Rothschild says with extended reverberation 'Power'. The Three Men in Rags move simultaneously forward, then in a display of strength put their legs slightly apart.
To one tuba blast the refrain 'Exterminate' intensifies from the Three Daleks, as flames appear more widely from the lower level and the words 'The Conservative Party, The Conservative
Party, the Party, the Party' are accompanied by the Three Men in Rags joining hands and raising them upwards. The Three Delegates, Gordon and the Three Civil Servants continue to
prostrate towards them. The spotlight on the Three Men in Rags becomes vivid. A refrain by choir continues with the words 'Obey the will of football' then without any text, including the
decorated part, as the scene below dims except for flames which increase. There are scream bursts. The trumpets begin four blasts. During all this 'Exterminate' is continuing. Together in
unison the choir in full voice without the decoration and the Daleks in greater volume say 'Exterminate, Exterminate, Obey.' This section concludes with a paiste gong.
The last section in the first part is as much as an improvisation as may be decided. I find improvisation is best when rehearsed, but it can be done in any way. Schoenberg's Friede auf Erden
in its entirety is played whilst the action proceeds. All action is in mime until the scene with Tonie Blair. By the end of the piece everyone should be rescued from Hell except Rothschild.
Suggestions are Gordon getting up first and ordering everyone around, the Three Civil Servants first, and ordering instructions on a phone connected to the Computer to direct emergency
services, as people descend into Hell to rescue occupants, use fire hydrants to damp the flames, a fire hose is brought in by two Daleks to assist, Tonie Blair is dragged out and given a
blood transfusion by a Dalek who intones 'You need the Doctor' assisted by one of the Three Delegates, and Theresa May is put on a stretcher carried by two Daleks and removed by them
offstage. People helped in this way will offer some gratitude and this should be accepted. In the final incident, The Woman's Voice says 'Rothschild. We are going to help you'. The Three
Men in Rags move forward to help and the temporary hand of Rothschild is raised, we know not whether it is to accept it. 'The Woman's Voice says. We will help you, we will do it with
your help. Rothschild withdraws his hand and says 'I refuse'. The Three Men in Rags are beaten back by the flames as others on stage bow their heads or maybe say someone puts a hand
around another's shoulder to indicate that nothing can be done. There are screams which decrement to halfway through the next incident.
Tonie Blair rushes forward to the left stairs and shouts 'Do you want Rothschild and chips?'. He shouts to the Three Civil servants 'Get an ambulance'. [Subversion: Greensleaves with harps
included continues to the end] One rushes to the computer to phone, another rushes out stage right to get the Daleks for an ambulance and the one with the blood transfusion bottle rushes
forward. Tonie Blair rushes down the steps to Hell and shouts to the Three Men in Rags 'Follow me'. Rothschild is pulled out. The Daleks return stage right to stage left with the stretcher.
Ascroft says 'Is he dead?' The Three Men in Rags put Rothschild on the stretcher. Tonie Blair says 'Doesn't matter. No, we can help. We do not know what it is. We need to find this
somethingness called Love'. The Daleks move out stage right. This is the end of the piece execpt the music continues in background, the actors raise their heads and maybe smile as say
there is applause if any, and Rothschild the actor should be given due prominence. Finally they will disperse and the audience will leave. It is not my intention that the real Rothschild in
any incarntion should be invited to any performance, but should that every happen he or she should be given due respect. We note independently that the moral message of the Opera is that
we should accept those that do wrong as one of us and whatever the inclination we have, a moral intention is to help those who need it and most of all those who have not accepted us and
therefore need most help, especially from within to demonstrate this to ourselves.
The following three captions will begin from now on, the final one in full view until all acknowledgements are complete. One of the Men in Rags puts a red flower in the appendage of a
first Dalek, one of the Civil Servants puts a yellow flower in the appendage of a second Dalek and one of the Female Delgates puts a blue flower in the appendage of a third Dalek. There
will be a slight fading of these three from those at the beginning of the musical. They are as follows. The first is
Announcer, (I) choir, (II) choir elements embedded in audience, (III) larger choir embedded in audience. There are sounds for electronic guitars and drums in the hall.
Whilst you pack your bags and go
[(A) there is something more to say.
(I) You are, you are, you are
you are, you are, you are
you are, you are, you are
you are the government - of Love.
(repeat from (A))
(II) I am, I am, I am
I am, I am, I am
I am, I am, I am
(I) we are the government - of Love
(II) we are the government - of Love.
This has no ending.
(I) We are, we are, we are
we are, we are, we are
we are, we are, we are
we are the government - of Love.
we are the government - of Love.
(III) We are, we are, we are
we are, we are, we are
we are, we are, we are
(I & III) we are the government - of Love.
we are the government - of Love.]
Repeat to fade
Outside, at some later time, the sequence in [ ] is repeated. They move off and [ ] is repeated again.
43. Beethoven's Fifth by Ludwig van Beethoven. The programme shall contain in some way the following notes by myself. They will be expanded to greater accuracy, to be provided by
further research I hope to undertake. This will express the idea, well-known, that Ludwig van Beethoven to begin with was able to uniquely expres his art and in it was accomplished in it to
extraordinary degree. This is the music of his early works. From Eroica, we realise Beethoven has become deaf, but it is still supreme music, perhaps at that time the greatest ever written.
We notice that Beethoven in the earliest works in which he is deaf, accommodates himself to sounds well known but is no longer able to hear by incorporating with study and vigour the
forms of the music of the composers of his time. Some claim Beethoven's Ninth is the greatest accomplishment in musical history (recount about it technically and what it accomplishes
in art and expression). Beyond that, we meet a new dilemma. Beethoven is approaching death, and now finally an experience he no longer remembers what sound is itself. Again, he has
the determination, in his creative urge, to go beyond the music of his age and create new forms. Aware still of the necessity of technical excellence, and in old age as is natural less able to
produce it, he is confronted with the fact that his intention is to produce new music with intensity that goes beyond its contemporary expression, and indeed attains that, whilst confronted
with the idea that he has forgotten what sound is itself, is loosing his competence to produce it, and he has no means in his continuing urge to produce it to know in any way what it sounds
and is faced with an audience who is invited to judge it on its merits which go delibrately beyond the bounds of its day. Thus this late work expresses in a unique way that had never been
encountered before a unique idea. It is situated not only in the music itself, the reaction of the audience itself, but also uniquely the intention and condition of its musical composer.
Confronted with this fact, how on Earth are we to judge it? These many late quartets are no derangement of vision, but its triumph. What are we to make of he fact that Beethoven spent
very long hours improvising on the piano when he could not hear a note? Or that he relied heavily on his favorite critics Hoffmann and Adolf Marx? There can be no other judgement than
that here is a creative composer confronted with the inevitable onset of a condition all humans will experience, but to begin again, that his audience will judge it by their criteria as well they
must. By what comparison could the composer judge this music when he had lost the experience of sound and in this condition was intent on producing sound never before experienced
before his audience? We are dumb with amazement that this articulate exerience of music was produced at all. In its littleness, it expreses in the greatest way the dilemma of music in all
forms, and in its greatest way. No music has ever been in this context before or since. Let us listen to it.
The programme notes on Bethoven's Fifth should be by another writer who is knowledgable in this music and should be appropriate for this type of performance. The audience shall be
given no indication of the end intention of the next performance, any other composer's name than Ludwig van Beethoven, nor the name of the composer of this subversion, Jim Adams,
before this performance, nor after after it unless requested. In the second performance all standard protocols are again observed as would be expected in such a performance. The performers
should be prepared to move as quickly away as soon as the performance is completed. The performance should be as good as is attainable within the means available. One quarter of the
way through, the performance shall terminate part of the way through a bar, exactly. The conductor shall put down his baton and say clearly 'That's it then'. All performers shall move
silently without explanation and as quickly as is not excessively rushed out of the auditorium. When all performers have left the podium if there is one, an eau de cologne scent shall
permeate the hall. If this is too expensive, another scent shall be made available. If that is not required, another subversion shall be given, but not under any circumstances music or sound
in any form. This should be pleasant if possible, and not unpleasant. If no subversion is possible, say if the hall has to be ventilated and this could not be adequately provided, there shall be
no subversion at all. This is completely acceptable. The audience will be given full opportunity to get their money back, and if this is requested arrangements will be made that this is quick,
efficient and helpful. Likewise those wishing to enquire on the nature of the performances should be given similar assistance and help and advice if requested for those who wish to navigate
between these two conditions. The audience will be given no recommended advice on how to proceed or their outcome, but provided with sufficient informtion if asked to give an opinion
on the options available. The performers shoud not linger in any way that is available within the vicinity internal or external to where the music have been performed and should proceed as
they might usually intend away from it.
44. Project for a Musical Event mainly in the Katu language but with Vietnamese in the outer sections describing a mythological story in Katu I looked further into this. Given my
culture, it looks hopeless. I try hopeless things with the aim that they will succeed. It will and cannot be entirely Vietnamese. It is a great challenge. It will suceed, whatever it is. I almost
know. The main problem with Western culture is we have studied ugliness, and have become great experts in it. It is to combine opposites, I think, so that they are the same thing. To create
beauty and not ugliness is then the great challenge. I realise that Western music, in its search for ugliness it has lost its beauty. I have travelled along this path and sought to subvert it, but I
no longer know how to get back to its beginnings. I am speechless in my incapaciy to represent the beauty of Oriental Music, because of my wish to explore the Western idiom. I know my
aim will be public. If I can work with others to submerge my culture it will not entirely complete its aim. It must be both collective and personal. It is best this opera is viewed as separate
from vietnamese culture, as a Western attempt to appropriate it, without to begin with being able to understandit. Perhaps later I will find myself a little better at its Truth. I can wander
about and find new truth, a stillness in complexity and a beauty in human constructions in great forests. If filmed, subtitles will appear in the language of distribution, and also Vietnamese.
I hope I will find with others how to express the music of little regularities that speaks in simplicity the soul. Approximately 1/2 of the Opera is Kaku, 1/4 Vietnamese, 1/8th American
and 1/16th French. Vietnamese will appear throughout, subsidiary to Katu in Katu parts. English will appear subsidiary in US parts, and also that in French. This melodic piece will include
a Jew's harp, Vietnamese thumb piano, Croacking frog guiro, and the extended and beguiling Dan Tranh Zither, together with a Chinese Zither with different tone characteristics. Fidel
Castro said famously 'For Vietnam, Cuba is willing to donate blood'. It is a bit of an effort for me to minimise the latter as an introduction to the US and French histories. A problem is to
compact things down, like Japanese haiku, for the French and American Wars, whilist giving great space to Katu myth, make things sensible in terms of Vietnamese culture, and subvert
the idea of modernity in Johnston bombing against the imposition of Vietnamese modernity in helping the Katu, whilst maintaining the integrity of the 54 ethnic groups of Vietnam as
essential to the reality of today. I have only begun the outer parts which ought to be peripheral but to me at the moment are not. They must be genuine of official French and American
intentions, and genuine and with variation in Vietnamese response. This put Katu in the context of Vietnam in the same context as Vietnam in the context of the French and the American
War. That, with effort is what I hope to do. I cannot write this work on my own, it requires people from the Katu culture and surrounding cultures in some form to give me knowledge of
their music and their stories from their own point of view. In the outer sections of which I have begun the first, the minimisation of this is already a problem for me. The French colonial
rule and the American War are obvious icons of western imperialism on which excessive comment could be made. It has to be mainly a Katu Opera, if that can be defined in any sensible
way at all. The outer sections can be Vietnamese music and I suppose it is relevant, we are in modernity, in relation to Chinese music too.
45. Karaoke night and other weeks at the Small Hyperperson and Toenail Club, upstairs, Swan, Burnley. The main problem here is that the performances overall are hyperoriginal.
We will be faced with professors from the University of Mexico looking at configurations of bar chairs and the beer brands. It must be made realistic.
Monday. The Cat is on the Carpet. For baritone sax, two alto saxes, soprano sax, and percussion. The refrain 'the cat is on the carpet' is spoken four times without variation. This is
interpresed with the music and combined with male vocals which reach high sounds and growls. Ends with a fade.
Tuesday. This Is Not Rebellion This Is Life, Rock Rules Forever.
includes the songs The Dalek Revolution, It Is Them, Mind Control is Good for You, Dalek Emergency, Love is a Serious Condition, Doesn't Seem to Be There, It Is a Theorem, Want
More Dehydration, Swing Your Website and much more, with finally Beer Is Good.
May contain: [Get the stuff/Yeah Yeah Yeah] [Mind Control is Good for You/When you get it Wrong//Suspicious Mind//Galactic Invaders/I Love You/Let's Galactic Invade together/
And spread Galatic Invade with Love/To the Outer Reaches of the Galaxy] [Dalek Emergency/Plug Me In/I have a Socket to Fulfill] [I wake up crying/My deep dehydration] [Beer to the left/Beer to the right/Beer is Good/Please interrupt me/Can't hear/The total joy of beer]
Wednesday. Amazingly Opera: Hitler Youth Orchestra plays Jim Adams. 1. Boris Johnston repeated 1234 times. 2. Composition for alsatian dogs. 3. Sounds from an abattoir.
4. Napalm and other explosons. 5. Recordings from 1234 expressive acts of sodomy. 6. Worst bits and mistakes.
Rap night. To be announced, it is usually Wednesday, but this week we are holding it Friday instead. There are drum sessions on Mondays and Sundays as usual.
Thursday!!. Special Commission: Performance at the Swan Pub by Jo Flynn and Jonathan Wheetley. A conventional guitar performance begins on the left. A man in a police helmet
goes further left and begins to hit maraccas on his head. A drunk from the audience tells the guitarist to fuck off and go downstairs. The performance continues, but the man in the police
helmet puts down has maraccas on the table. A new performer comes up to perform, and the previous guitarist steps away to allow him to continue. The drunk gets up and there is a tussle
between the new guitarist and the drunk over who is to do the next performance. They are unable to continue over who owns the guitar and so they retire together without playing anything.
The original guitarist continues and the man with the police helmet stands next to him. The drunk asks 'Where are your maraccas?' and the man in a police helmet picks them up and begins
to unbutton his flies to put the maraccas in. Two men come up and tell the man in a police helmet that he is not allowed to do that. The guitarist gives up and the man in the police helmet
holds the maraccas and begins to rebutton his flies. The drunk comes to the centre of the stage and begins to hit a tambourine, including on his head. The man in the police helmet gives
the maraccas to the drunk and begins to explain to the two people who had told him to stop that it was perfectly legal and he was not about to put down his underpants. Whilst this occurs
the drunk who has the tambourine on his left hand and is occasionally hitting his head with it begins to shake the maraccas. He then shouts 'The ten Jonathans'. The man who he has had
a tussle over the guitar (now called the first man) responds 'Who is Jonathan?' Then a young man arrives and the first man point to him and says loudly 'Jonathan'. The drunk responds
'This is my son' The son, who is very well and soberly dressed goes to the front to begin a sesion on the drums. He stands on the front to begin a session on the drums. He stands on the
front with his father. The first man aproaches and the father says 'Jonathan has a bigger dick than me.' The first man holding the maraccas says 'Are they bigger than these Jonathan?'
The drunk responds 'Jonathan's dick is bigger than that, isn't it Jonathan?' The drunk with a bottle of his favourite alcohol retires to the table with the first man, whilst Jonathan with the
guitarist prepare for a performance. The first man has a cup of tea with him. The drunk asks the first man 'How big is your dick then?' The first man responds 'I haven't got one, I am a
woman'. Whilst the performance begins the drunk says to the first man 'Put your arms around me'. The second Jonathan arrives and the guitarist says 'This is Jonathan'. The drunk with his
alcohol and the first man with his tea move to the front whilst the performance of the two Jonthans and the guitarist continues, hits his tambourine on his head, disconnects from the first
man, and puts his bottle on the floor. The performance continues whilst the drunk shakes his maraccas in combination with the tambourine on his head and the first man continues looking
on. They both smile together as the performance continues and the first man sips his tea.
Friday. We give instruction on the playing of the newly developed Umbrella Music.
46. Smiley Man's Christmas Banana Party.
Prunes and bananas and custard and cherries
And holly and custard, deep prune-filled tomatoes
We love you in custard and feel deep bananas
Caressing your custard, your prunes and tomatoes.
We love you with peas and deep marmite and custard
We love your deep prune-filled unmarmited custard
We love all your holly and mistletoe roundings
Our feet shuffle sideways and rumble with porridge
Our porridge and mistletoe custard surrounds us
Deep in bananas and custard-topped holly.
We love you, you smiley surrounded in custard
Your smiley teeth grinning with prunes and bananas.
We love you in custard, and deep in our smearings
We love you, we love you, we love you bananas!
Oh happy the prune-depth, the smearings of marmite
Oh happy the custard and peas that surround us.
Our wailngs of joy and our happiness grinning
For Christmas is coming, and coming is prune-cake.
47. A Compilation for Sohail - Hello Sohail.
(1) Video of Torville and Dean, together with Ravel's Bolero.
(2) Johnny Cash.
(3) Schoenberg's Friede auf Erden (Peace on Earth), YouTube
(4) Johnny Cash compliations and My ding-a-ling.
With best wishes to you for the future and much better and great health.
48. Rose tattoo
49. OMD: Maid of Orleans
50. Then said