Tag Archives: john cage

That’s where it’s at pretty baby!

OK here is the vid of me at BABE in April 2015, it’s taken the overall count of visits to my blArt over the 6,500 mark, is that going viral?

a mask beuyHerr Beuys is watching

https://onedrive.live.com/?cid=07628A1BAB38FC9E&id=7628a1bab38fc9e%21101996&authkey=%21AuwEF6VxemmDRcY&v=3

A special thanks to Dave Doughty who filmed it, Kara who did the cd operating the music at VERY short notice. Luke Walker and Colin Lloyd Tucker for the musics and of course the Killers. And thank you Duncan for your encouragement & support as always. I’ll never dance as well as you do.

It’s scarey cos it shows me flaws and all. It’s important cos I can learn so much from seeing it and from any feedback it may elicit. This seems to have gone viral, at least 20 folk have ‘tuned in and dropped off’ within 12 hours of my posting it. Enjoy.

That’s where it’s at pretty baby! That’s where it’s at, here’s Sam Cooke singing it, Van Morrison dropped a refrain from Sam’s song into one of his concerts! https://www.youtube.com/watch?v=txQoANzba-I

(27.04.2015) Sometimes reality comes by and hits me in the face, like a cold wet kipper, a slap in the face with a smelly old fish.

The artists I like most are Japanese if you please, they are of young and old times if you please; Hiroshige, Tadanoori Yokoo and the ones I saw at the ‘original print fair’ at the R A yesterday; Yuriko Takimoto (gallery jin), Nana Shiomi ((Rabley Contemporary) and Chitra Ganesh altho she’s Indian I guess (Durham press, Pennsylvania). I loved Katherine Jones (Rabley) collographs too. The trouble with all the rest is they are just repeating ad infinitum what’s gone before. They don’t understand an original unique artist like myself. There’s only (ever been) a few like me, original-unique. Trouble with my output is it’s always been too far out for them to catch it up. That’s where I’ve always been, out, far out. I got left out in the cold running thru the fields crying out in the wildness. But, I DON’T CARE! On the surface it seems I have been small fry, but there’s a big kick inside which has always driven me on. I shall never be a ‘success’ (like me old Burnley mucker James Anderson the cricketer who is breaking all records and getting accolades world-wide, but, and any (material & critical) success I may be donned with in the last quarter of my life in this incarnation will only be a sideshow of little import. I shall remain small fry. It’s too late to start now. I have had to (try to) continue over these past 47 years ‘without portfolio’ but that’s nothing new for a boy from the 1950’s estates. I started off poor and I still remain strapped for resources in a physical sense. I am fabulously rich in otherways which I am sure will out in my series of books started with the new Shrewd Idiot and onto my Squidgerat Scrawlings through to I Telt Yeez I Was A Genie’s Ass. Yesterday I heard that Bert Irwin had died a few weeks ago in his 80’s. Alan Davie’s work was prominently shown at the Original Print fair at the RA and he died recently too. Chris Ofili and Grayson Perry’s prints were there in all there glory but mine are not, that’s a reflection of my lack of ‘success’ but am not crying nor whingeing over tings that didn’t occur, no, I am determined to continue pursuing my visions and making my outputs some of which are unpredictable even to me. And that’s the way I work, I am of the school which believed we should not be able to predict every outcome because chance and opportunity should be in the mix when creating, allowing for surprise and breaking new ground. John Cage said of Rauschenberg in ‘Silence’, “Modern Art has no need for technique. (We are in the glory of not knowing what we are doing.). And I am a Modern Artis, if nought else. Ray Rushton wrote really positive things about my werk for the Essex County Standard in October 1993 like, “Kennedy mostly uses his plethora of open line either as a wiry composition in its own right, or more often, to knit together patches of colour as in the large painting of Topolski.”

I have abandoned all efforts to gain entry into the Ice castles of art(s). I give up…not ‘making art’, no. this blArt is my art or pArt of it. No, I shall continue making my art ‘til the day I die. But am not ‘attempting’ any longer I’m just ‘being’, me. No pretentions, no submissions, no entries, no mores, just me. I am ‘When I’m 64’ now be blowed, I don’t need ‘them’. One of the concerns is that without being in the ‘fold’ or the ‘canon’ you can’t survive. Well, I am still alive and the folded canon is much diminished by my absence, with its lack of my presence. The thing is, the ‘art world’ batters out the same old song. I bin looking hard at art since 1967 when I first visited the Tate. Also in ‘67 there were a massive retrospective of Matisse and today there’s another big Matisse show at tate Modern, I’ve lived thru 2 maybe 3 major Lichtenstein shows, or Warhola or Henry Moore etc shows. Yet so many others never get heard of. Trouble is hundreds maybe thousands go into art training, learning various skills to sometimes very high levels and some, like me, always ‘believe’ that with enough effort & dedication they can ‘make it’. Make it ? make what? Make it into the canon? Become ‘recognised’ as players etc? when really there’s next to no chance. Probably less chance of ‘success’ in the art world than if they (both male or female) tried to become premiership footballers. In other words, NO CHANCE. People like Heinious Hurst, Tarki Vermin are truly freaks of an art-nature. The art world exhibits them like the Victorians shewed people with difference in fairground freak shows and the (still) gullible public flock (like sheeps) to she em.

For me the world of art is so much wider deeper and longer than them lot, or any udder latest flavour or favoured it. It guz bach even past the Venus of Willendorf. Human inventiveness & creativity is really what art is about and that is it’s worth. So, when I once ‘taught’ art I was really teaching alternative ways of looking at and approaching a challenge, ways of creating new solutions, different ways of tinking & looking and finding. Different ways to re-iterate old and new ideas. And this country, GB, has an incredibly rich history of nurturing creative talent acrosst the arts (& sciences look at Dyson, Richard Rogers & Norman Foster) in dance, art, literature, drama and music to name but five alive^.

Here’s a quote from an old blArt of mine which was entitled ‘My claim to a plaice in the Pantheon with my Pantstillon.’ And I was playing with the word place which we sound the same as plaice and I was mucking around with the word Pantheon and belittling it by analogising it with the idea of flying by the seat of my pants but managing to keep them on:

‘The prophet is one who embraces /embodies an “alternative consciousness”…[they] serve to criticize in dismantling the dominant consciousness and energize persons & communities by [promoting moves toward another consciousness]. See Walter Brueggemann- the prophetic imagination. Beuys said, “when I speak I try to guide that power’s impulse into a more fully descriptive language, which is the spiritual perception of growth” The intervention of speech and conversation into his visual works plays a meaningful role in ‘How to explain pics to a dead hare’. The hare has symbolic meaning in many cultures, Germanic tribes saw it as a symbol of fertility. The gold mask Beuys wore during his performance saw gold as a symbol for the power of the sun, wisdom, and purity, and honey as a Germanic symbol for rebirth. For Beuys ‘Honey on my head of course has to do with thought. While humans do not have the ability to produce honey, they do have the ability to think, to produce ideas. Honey is an undoubtedly living substance- human thoughts can also become alive, honey was the product of bees who, for Beuys (following Rudolf Steiner), represented an ideal society of warmth and brotherhood. Gold had its importance within alchemy’. All of this is from wikipedia.

‘Gold had its importance within alchemy’ transformation and transcendence which my whole project ‘Inside this clay pot’ is about. I have quoted from these Beuys’ sources not to gain kudos nor benefit but to help you understand that we (creatives) all ‘tap’ into ‘stuff’. As a teenager I realised artists like Henry Moore, Matisse, Van Gogh and Soutine, writers like James Joyce and Henry Miller were tapping in to what I later called ‘creative consciousness ’ in my book ‘The Shrewd Idiot’ watti rote tween 1976-81 and unpublished until 2015. The possibilities there are enormous. John Winstone Lennon, Bob ‘Dylan’ Zimmerman, Bruce tha Boss, Van D. Man, Baby Bowie, Ken Campbell, all tap into the source.

A Happy Man.

A Happy Man.

Sandwiched

Between

Nancy & Sam

Pete Kennedy

16.11.2014

 i am dis orfan

‘tangajorsarpaq eye am this orphan’

 Am rejoicing as the week has arrived for two trips into the Big City o’ Londres. I went up yesterday for a full filled day at the Poetry Library where I saw our work in such good company and two bee sandwiched between two such great practitioners as Nancy Campbell & Sam Winston was indeed a privilege. I was of course looking at werds; my verds watti wroted (not like Roth did) and David Jury printed ‘em, Nancy’s words, sam’s words, then loads of others’words like- Gaudier Brezka, Ezra £, Diter Wrot, jon Cage, Gins-oak-burger, Jean Cokatoe (I love her sketches), and many more. However you can’t go see it even ift you cry, it wer only up fer one dae. So am putting some small photos in this blArt to show you what ya mist. And I did this bit of nonsense using up werds wat I sore.

a sam

 I wer particularly inspired with Sam’s work, ‘Orphan’, in which he used a lot of words he had rote and cut & pasted. So I did the above cut & Baste misen. Eclosion means summat to do with changing frae a pupa to a angel, I tink the transformation has begunned. I invent a new word from a bill stick on a Paolozzi muriel at Tottinghen Caught Rude tube station, Ekanity

,a ep eka

it’s a bit like eternity but a bit longer, or shorter, who dares? I have finally fully launcehed misen into the muddy pastureyes of the cut & Blast, some o’t werds cum frae BLAST. Thur’s mad in yer eise Einsteye, Eisenstine, Eyesore, eye eye, oh begorrah bagum.

a mud vison

Then at 8pm 3 poets began to read their reactions to what they had seen in the boxes of books prepared for Sunday’s display. William Wyld went first and did a tribute poem to one he’d seen about mud. I loved his words about a reluctant rebellious recalcitrant seal melting into the snow, ‘You took my claws but you couldn’t take my head’. Then Patrick Brandon read his words inspired by John Cage’s Silence on Rauschenburg. Then he did one filling in the gaps in Tom Phillip’s Humument with words like, ‘What is life other than matter complicated by time…’ In my poem in the exhibition I also refer to humans as energy. Hilda Sheehan talked about life and death too, I suppose poetry is lots about our mortality. I enjoyed her Kiss.

She too referred to John Cage’s Silence. Her poem went

Silent

it just

dis

ap

peared.

It was a poem for Georgina, after holding up a tiny piece of tangled wire Georgina had made and hung silently last year:

I’m impressed with your strings

Hung up like mirrors

Shhhhh…

silence

 

Shhh… let these (very small) images tell the story.

 a cam 3

Nancy’s beautiful Icelandic poema cam6

Nancy uses Inuit words for love (I tink)

a set

Pete & David’s collaboration poems

a i am

I Yam a Seeker of Toots

anex2

Pete next to Sam’s poem

a sam2 a sam3

How Sam plays in clouds

a ep9

At TotCort Rd the mural needs replenishing

 a pk4

Pete auditioning fer Egg Heads

OK so it’s Time forra Change

I have rarely ever made attempt to contact famous folk but this time I felt that the subject matter is so beautiful I wanted to share it with Annie so I am adding this about Annie’s songs after I heard her on Beeb last night (I did write it in a hurry):

Dear Annie,

I must just share this with you. I am listening to your talk with Johnnie Walker. I need to tell you that Once , back in the day, I had an astounding thing happen whilst listening to your album with ‘Why?’ on as I drove thru the night from Essex to Burnley in Lancashire. I was almost alone on the road and drove up the M11, M1 and across the Pennines to my home town. I had been told that my father was about to die and I should get there as soon as I could.

It was by chance that your music was playing and that album in particular, I had not planned it in any way. But, as I drove I felt the songs were talking to me personally, in my situation. ‘Why’ was one obvious question in my mind but more pertinently the one about angels came on and I felt it was for me and my father, I had known he had not got long to live and had been visiting him for 5 weeks at the weekends, then returning to my work and young family. Indeed the final time I saw him alive my dad said to me, ‘Go back home now son and look after your family’. I had thought it was almost like final words and it seemed he must have known it was. It was ten days or so later when the call came, I had been unable to get back the previous weekend to see him. Your music and the words of several songs sang to my heart and soul and gave me great strength to drive that drive.

ann words

these are some words I heard as I drove that night

 

Then an amazing thing happened. I was near Sheffield and had taken a turn off one main road and was heading for another. I came to a roundabout and a voice said, ‘Carry on round it’s to the right’. I knew better, It was not, it was straight on. So Straight on I went. The wrong way, heading in toward Sheffield rather than heading up to further North. (Hey, the song ‘Oh God’ has just come on as I type).

annie words 2

you can see how these words were so pertinent to me at the time

I had to drive about 5 miles before I could turn back and take the turn the voice had said to. I realised that voice must have been my dad. We talked like that as we drove and he invariably knew better than I.

The time was important. When I arrived at the hospital he had passed away a couple of hours before. He would have been watching me from an unharnessed by the earth boundaries. I believe when we die we are released from our bondage. The spirit becomes free. Wherever that soul goes on to, it has a while when it can see it’s close ones. He must have smiled and known I would have to find out the hard way.

Now you’re talking about Tenzin Gyatso, the Dalai Lama, one who I love too.

Thank you for the angels

Love

Om Mani Padmi Hung

taf side view

Sandstone head of my dad created after he died from the stone he would have worked with as a steepljack in north-west England

These strange after death synchronicities do happen, and often. The day after I wrote this small memo to Annie Lennox I was reading in a book about John Cage and came across this story. Kathan Brown, who had helped Cage to make prints at Crown Point Press, San Francisco where he made hundreds of prints between her invite in 1978 and his death at near 80 years old in 1992 said, “I haven’t told anyone this before… It’s an unbelievable coincidence, but true. When I came to work the morning after Cage died…it had rained the night before. I looked down to see a large clump of mushrooms growing through a small crack in the concrete near our doorway, right there on a downtown sidewalk in San Francisco.” Mushrooms had featured a lot in his prints.

So it’s not about what Am going to do, it’s only about wattam doin Now and this is warram doing noo. THIS. I Am not copying anyone else except maybe my former self, my earlier stuff. Wenni wrote Apul-One I wern’t  copying Joyce (Carey nor James) altho I had red Thinagain’s Awakenup about 6 or 7 yearns afore. NO. I wernt copying Juoyce. That’s impossible!! I could never copy Joyceunless I photocopy him or use some other image copy device. Even if I handwrote/typed the whole of Joyce I wouldn’t be writing like joyce, that’s impossible cos Joyce wrote from his experience and his knowledge and his perspective and I write from mine experience and mined knowledge and mind perspective. I live now, today on 27.12.2013 with my birth in Glasgae and my education by Miss Howker, Bill Josebury and David Jury. I have experience like lighting fires on waste ground with Michael Read to try to heat up a meat& potato pie he had found on a building site that day, it didn’t work but we still ate it (not, I spat my part out eugh, I tink he et his). Joyce never had that experience in my home town with or before me. His experience base differed. His was a vast knowledge of words, mine being vastly minor by comparison, he knew and understood Greek and Latin along with several modern languages including French and Irisht. So, when he played with the alphabet to create new combinations he was doing it from a position of strength. Me I always do it from weakness, comparatively. I could never retain stuff, I could read a great explanation, understand it, take it in, swallow it THEN always forget it, almost completely. So every day is like a new start for me re-learning so many tings. And I didn’t copy Lennon or Lear or Swift or anyone else. They surely influenced me but the 26 letters of the alphabet can be applied whateverwichway I see fit.

 I tuk this photo of Kenny Goldsmith at Whitechapel 2011, he copies one way or anudda.

 Image

http://djhuppatz.blogspot.co.uk/2008/08/kenneth-goldsmith-new-york-trilogy.html He actually copies off stuff, calls it Appropriationismisticzen, (he doesn’t!) he copied a whole New York Times and published it as his own and says:

‘I am spending my 39th year practicing uncreativity. On Friday, September 1, 2000, I began retyping the day’s New York Times, word for word, letter for letter, from the upper left hand corner to the lower right hand corner, page by page. Today, November 10, 2000, I am approximately half way through the project. I intend to finish by New Year’s Day.

The object of the project is to be as uncreative in the process as possible. It’s one of the hardest constraints an artist can muster, particularly on a project of this scale; with every keystroke comes the temptation to “fudge,” “cut-and-paste,” and “skew” the mundane language. But to do so would be to foil the exercise.

…never have I faced a writing process this dry, this extreme, this boring.

John Cage said “If something is boring after two minutes, try it for four. If still boring, then eight. Then sixteen. Then thirty-two. Eventually one discovers that it is not boring at all.”

I’m interested in a valueless practice. Nothing has less value than yesterday’s news paper. I’m interested in quantifying and concretizing the vast amount of “nutritionless” language; I’m also interested in the process itself being equally nutritionless.

Retyping the New York Times is the most nutritionless act of literary appropriation I could conceive of. Had I instead, for example, retyped Ulysses, there would have been too much value, for Ulysses*, as we all know, is a very valuable book.

I took inspiration from Warhol’s “Empire,” his “unwatchable” 24-hour film of the Empire State Building.’

THAT’s a copy, THAT is to iterate. NO, I may make reference to, be inspired by, quote others but copy I do not. I did a poster paint copy of a Lautrec when I was about 17 cos my school art teacher advised me to but I wouldn’t try to copy say a Blake (William NOT Pedro) or an Auerbach nowadays cos that would be soul destroyin for me, I have my own ways of painting, my own drawing style etc. *The funny ting is, what you see ritten abuv in the first paragraph before I found the quote I downloaded from KG! Funny that he should refer to joyce and Cage both of whom I referred to in my handrit notes fer this blog, Has he bin copying me?

So. I have now been making my art for over 45 yearlings now. I tried many differing ways to make art etc. Altho I’ve received many well wishes I never got no refun to squak abart, I always remain acashtraptied. So, I have to look at watti did and have to conclude, it’s (warri dun) not goodenuf! No Krappe abart me being appreeshiated and atmired, no no no no, I’ve had ernuff and am pigstik on it, no more krap, like the Beetles sayd singingly at their top of marypoppin voices, “I Want Money, I Want Mo..Ar..Arney” cos preciatshum can’t buy me noah inks and tinks.

So, what will be that change? What will be the ting thet gets me out there in the mass conshusnez? I mneed a common conshensis to “Get Byed By A Lot Of My Frinds” ( that’s Brummie for frends). Wennam Six Feet Door.

Well this year I shall bring out my new Skwidjerat book. It’s going to have probli 3 score an ten images in and some garbled writ like wat this is. Why? Cos it dunt marra worri dae, it’s bound to fail. So I may as wheel dae warri wunt.

I have so many old manuscrips fer buks I shall have to work thru em systematically. I shall do my new Skwidjerat book ferst for sure. Then I tink I shall beging th’Genius series. I have to do my Burnley 1916 before 2016.

Altho I got at least 3 new article ideas I shall forgit em til am aksed to do em, by whatever publicayshun. That way I can plan my books as nobody will expect em nor have any time limit to meet.

Also, I do want to find a place(s) to make various forms of print,; stone litho, and a form best for my my new Skwidjerat book. I do have a book I want to do letterpress but it’s got naughty werds in it, so I may find finding a printshop hard. The werds are only naughty cos they are mostly old engerlish or celt or old saxon derivinged. And they became taboo or relegtated, the book features most all ofit, four letter werds. Like tuck with an ef instead of a tee. The buk is about the ludicrousness of making those werds taboo etc. Thay are werds dammit. Oh, damn is one too.

I have now gotten a number of really diffrunt folk in my radar of havingred or influesing me: Dietre Roth, Ofcourse Joyce, Kenneth Patchen, Flem o’Brien, John Cageless, Herr Hundretwaters, and I am going to USE their influences in evri wey I can werk out. I have nothing to live up to, nothing to prove, my outcomes will be wat they will. One of them is this payge. Stay with me if you willst. Choose to reed me or ignore me. Leev now if you can’t be bovved.

Translation (see my profile below for the reason I am doing this translation)

OK so it’s Time for a Change

So it’s not about what Am going to do, it’s only about what I am doing Now and this is what I am doing now. THIS. I Am not copying anyone else except maybe my former self, my earlier stuff. When I wrote Apul-One I wasn’t  copying Joyce (Carey nor James) although I had read Finnegan’s Wake about 6 or 7 years before. NO. I wasn’t copying Joyce. That’s impossible!! I could never copy Joyce unless I photocopy him or use some other image copy device. Even if I handwrote/typed the whole of Joyce I wouldn’t be writing like Joyce, that’s impossible because Joyce wrote from his experience and his knowledge and his perspective and I write from my experience and my knowledge and my perspective. I live now, today on 27.12.2013 with my birth in Glasgow and my education by Miss Howker, Bill Josebury and David Jury. I have experience like lighting fires on waste ground with Michael Read to try to heat up a meat & potato pie he had found on a building site that day, it didn’t work but we still ate it (not, I spat my part out eugh, I think he ate his). Joyce never had that experience in my home town with or before me. His experience base differed. His was a vast knowledge of words, mine being vastly minor by comparison, he knew and understood Greek and Latin along with several modern languages including French and Irish. So, when he played with the alphabet to create new combinations he was doing it from a position of strength. Me I always do it from weakness, comparatively. I could never retain anything, I could read a great explanation, understand it, take it in, swallow it THEN always forget it, almost completely. So every day is like a new start for me re-learning so many things. And I didn’t copy Lennon or Lear or Swift or anyone else. They surely influenced me but the 26 letters of the alphabet can be applied whatever which way I see fit.

I took this photo of Kenny Goldsmith at Whitechapel 2011, he copies one way or anudda.

http://djhuppatz.blogspot.co.uk/2008/08/kenneth-goldsmith-new-york-trilogy.html

He actually copies off stuff, calls it Appropriationismisticzen, (he doesn’t!) he copied a whole New York Times and published it as his own:

‘I am spending my 39th year practicing uncreativity. On Friday, September 1, 2000, I began retyping the day’s New York Times, word for word, letter for letter, from the upper left hand corner to the lower right hand corner, page by page. Today, November 10, 2000, I am approximately half way through the project. I intend to finish by New Year’s Day.

The object of the project is to be as uncreative in the process as possible. It’s one of the hardest constraints an artist can muster, particularly on a project of this scale; with every keystroke comes the temptation to “fudge,” “cut-and-paste,” and “skew” the mundane language. But to do so would be to foil the exercise.

…never have I faced a writing process this dry, this extreme, this boring.

John Cage said “If something is boring after two minutes, try it for four. If still boring, then eight. Then sixteen. Then thirty-two. Eventually one discovers that it is not boring at all.”

I’m interested in a valueless practice. Nothing has less value than yesterday’s news paper. I’m interested in quantifying and concretizing the vast amount of “nutritionless” language; I’m also interested in the process itself being equally nutritionless.

Retyping the New York Times is the most nutritionless act of literary appropriation I could conceive of. Had I instead, for example, retyped Ulysses, there would have been too much value, for Ulysses*, as we all know, is a very valuable book.

I took inspiration from Warhol’s “Empire,” his “unwatchable” 24-hour film of the Empire State Building.’

That’s a copy and that is to iterate. NO, I may make reference to, be inspired by, quote others but copy I do not. I did a poster paint copy of a Lautrec when I was about 17 because my school art teacher advised me to but I wouldn’t try to copy say a Blake (William NOT Peter) or an Auerbach nowadays cos that would be soul destroying for me, I have my own ways of painting, my own drawing style etc. *The funny thing is, what you see written above in the first paragraph before I found the quote I downloaded from KG! Funny that he should refer to Joyce and Cage both of whom I referred to in my handwritten notes for this blog, Has he been copying me?

So. I have now been making my art for over 45 years. I tried many differing ways to make art etc. Although I’ve received many well wishes I never got any refund to talk about, I always remain strapped for cash. So, I have to look at what I did and have to conclude, it’s (the things I did) not good enough! Don’t give me any Krappe about me being appreciated and admired, no no no no, I’ve had enough and am pig-sick of it, no more Krappe, like the Beatles said in popular song at the top their of voices, “I Want Money, I Want Money” because appreciation can’t buy me any inks and things.

So, what will be that change? What will be the thing that gets me out there in the mass consciousness? I need a common consensus to “Get Bye By A Lot Of Help From My Friends” (that’s Birmingham slang for friends). When I’m Sixty Four.

Well this year I shall bring out my new Squidgerat book. It’s going to have probably three score an ten images in and some garbled writing like this. Why? because it doesn’t matter what I do, it’s bound to fail. So I may as well do what I want.

I have so many old manuscripts for books I shall have to work through them systematically. I shall do my new Squidgerat book first for sure. Then I think I shall begin the ‘Genius’ series. I have to do my Burnley 1916 before 2016.

Although I’ve got at least 3 new article ideas I shall forget them until am asked to write them, by whatever publication. That way I can plan my books as nobody will expect them nor do I have any time limit to meet.

Also, I do want to find a place(s) to make various forms of print; stone litho, and a form best for my new Squidgerat book. I do have a book I want to do letterpress but it’s got naughty words in it, so I may find finding a printshop hard. The words are only naughty cos they are mostly old English or Celtic or old Saxon derived. And they became taboo or relegatated, the book features most all of it, four letter words. Like tuck with an ef instead of a tee. The buk is about the ludicrousness of making those words taboo etc. They are words damn it. Oh, damn is one too.

I have now gotten a number of really different folk in my radar my having read them or their influencing me: Dieter Roth, Of course Joyce, Kenneth Patchen, Flan O’Brien, John Cage, Hundertwasser, and I am going to USE their influences in every way I can work out. I have nothing to live up to, nothing to prove, my outcomes will be what they will. One of them is this page. Stay with me if you can. Choose to read me or ignore me. Leave now if you can’t be bothered.