I’ve woken up
No longer under your spell
Sobered up
And realised I’m in Hell
You played me hard
But you did it well
You built me up
But in the end I fell

Eins, zwei, drei, vier,
The truth was blurred but now it’s clear
Eins, zwei, drei, vier,
My scars are now my souvenirs
Eins, zwei, drei, vier,
I’ve lost it all and now I have no fear
Eins, zwei, drei, vier,
Now I see that the end is near

Now you’re gone
And I can heal
You were too good
To be real
My heart was always
yours to steal
But you burned it up
And I can’t feel

Eins, zwei, drei, vier,
The truth was blurred but now it’s clear
Eins, zwei, drei, vier,
My scars are now my souvenirs
Eins, zwei, drei, vier,
I’ve lost it all and now I have no fear
Eins, zwei, drei, vier,
Now I see that the end is near

Electricity is talking; we understand
losing interest in conversations. creating land.
droplets of ice define the day
August ends in the middle of May

intrepid peeling; scabs of the earth
the hands fail; a dumbed feeling
Eins, the seeing blind have never seen
on screen, a shape of many faces

in through the open windows outdoors
smoke dries the unseen. air dry.
so paragon goners repulse the cleaver
the system has failed

so much detail to attention
when pink isn’t even a color
time is wasted on time itself
unfortunate cookie

wires once made you. complete.
ask for the answer to the question is nothing
Zwei light birds on a wire
the happenstance, the fire

where hell listens, there sight is drawn
selfishly we glare and mourn
******* ice cubes yelling “Jesus may…”
cold as **** the cesspool lay.

So, maybe I’m over thinking this.

l - DELÍRIOS ORGIÁSTICOS & ASTRAIS
    
    Participei da festa de Dionísio & as grandes estátuas de Leão plasmático, ergueram – se sobre a Terra. O precipício & o primeiro sinal da despedida cantando juntos a trilha sonora da invasão dos Profetas urrando a serviço das letras. Para todo o sempre o trono partido por ninfas histéricas! Crises contra o amuleto. Gnose fumacê participando celebrando a queda das pirâmides. Alquimistas do Verbo cantem o grito profano da Inquisição! Os sete pergaminhos caíram semeando a destruição da pedra Xamânica. Diadorim buscando solução em Fausto & Orfeu...? (inaudível psicopatia irradiada na vestimenta da alma). Exagerados, contemplavam mensagens infernais de Blake em vozes imagens melancólicas de Rimbaud. Logo as marés baixaram & sobre as ondas a Lua levitava em direção ao rugido do fogo; Dionísio em chamas bacantes! Ausência da queda no tempestuoso ninho levando aos portais da tormenta. Sete anjos cantando o mantra da lágrima metamorfoseada em dor.                                                             ­       
   Dionísio em voz de trovão: Oh! Se a voz do Tudo emanar a língua em torpor saqueando o princípio da guerra; Quando os sentidos estão sacudidos & a alma está dirigindo- se à loucura; quem pode permanecer? Quando as almas estiverem aprisionadas, lutando contra as revoltas do ar, na cor do som, quem poderá permanecer? Quando a brisa da fúria vier da garganta de Deus, quando as fábulas da persistência guiarem as nações, quem poderá permanecer?
    
    Quando baladarem o pecado, acabarem na batalha & navios dançarem em volta do último regozijo no espaço da morte: quando as almas estiverem embriagadas no fogo eterno & os amigos do inferno beberem antes do traço do infinito: Oh! quem poderá permanecer? Quem pode causar isto? Oh! Quem poderá responder diante do trono de Deus? Os Reis & os nobres poetas malditos repousando na caverna por dois séculos, têm permanecido?
    Não escutem, mas o Grito leva à ponte do não-ouvir. Não escutem, mas prazeres congestionados devem esperar. Amanhã. Só amanhã pensando se o tempo foge ao futuro ou se as árvores choram no Tempo & o Vento cantando a antiga canção da essência. A Terra deve esperar as lendas memoráveis sentindo passado & liberdade entre velhas histórias do coração descompassado em dia de vitória movendo ilusões da criação do mundo. Nem um sorriso noturno tremendo escrevendo cartas no oceano desejando amar & morrer ébrio no mar sonoro! Vamos celebrar sua dor& as novas despedidas & as páginas manchadas no lago desespero procurando asas no inferno análogo à soberba contemplando como um feiticeiro histórias orgiásticas em dias perdidos!
||- IMPRESSÕES DO INFINITO
Pequena ninfa exala virtude
Nova percepção é velha chuva
Intrépido céu em força à beira da tormenta
Tempo escasso frente do Tudo!
    Paradoxo abissal em finais absurdos. Doutrinas anti-socráticas poeira do nada embebecido forjado  para a volta. Um caminho é serpente fria salto com Ícaro destoando nobre silêncio ainda que duas palavras atravessem é sinal mágico psiconitróide em míticos fragmentos complexos da grande barriga virtual grande momento, enfim personagens pensantes na corrente capital ilustre ideológica. Nietzsche disse: “ não a intensidade, mas a constância das impressões superiores é que produz os homens superiores”. Dionísio ausente sibilo missionário resquício da grande tempestade transformando nada em músicas eternas músicas pós-Tudo música póstuma aquém de princípios de aura. É grande o Banquete na eternidade alucinógena da erva platônica. Lembranças unidas outras vidas presentes no barulho da dor. A carruagem sem asas foi  o veículo de Dante no purgatório encontrando Beatriz dito anjo de pele sutil com olhos da noite. Ou não. O primeiro grito do mundo foi o verbo, a morte do mundo foi a palavra.

    Acostumei a encontrar palavras atravessando o outro lado realizando caótico passo ao começo do ato simétrico pairando no ar buscando Tudo. Se a palavra antes fim fosse real sem ser palavra psia apenas causadora empírica dos dilemas tristes recortes de outrora pigmentados sem nome em precipício do fim! A ilha colorida geme! É o sinal da passagem da vida filosofal alfa poética plenos estados iluminados na sombra abissal de Rimbaud em crise  de riso & esquecimento sendo expulso da fumaça purgatório vivendo entre o sagrado & o profano com queda para o profano escutando vozes em terríveis silêncios metapsicofísicos abundantes pausas noturnas no vôo da maré. Salve a iluminação mágica fixada na irradiação transcendenastral! Dissonâncias filosóficas,  venham todos! Lamentos proféticos entorpecidos beberei do seu vinho! Indício do apocalipse! Profana histeria caótica levando a contatos xamânicos primitivos míticos em desertos & portais circulares!
             Serei eternamente condenado ao arco-íris do absoluto infinito!

Keine Eindeutige Regel may well to your Genaue Anteil der ende Flüssigkeit sowie Mehl, other bei der Brotherstellung verwendet Werden, gegeben Werden, Weil einige arten von Mehl zu absorbieren viel mehr ende Flüssigkeit als weitere. Realmente es wurde jedoch festgestellt that will About three cupfuls Mehl Wird i'm Allgemeinen für JEDE Brotlaibchen notwendig.

Mit on this Bekannt ist, Kann sterben Mehlmenge ium home Betrag von Brot, sterben vorgenommen Werden soll, manages Werden. Pass on Menge der erforderlichen ende Flüssigkeit hangt von der Menge sowie Artwork von Mehl Ausgewählt ist, Aber in der Regel sollte ations ungefähr Ein drittel which means that viel ende Flüssigkeit Wie Mehl sein. Das spezielle Elle Verfahren, das für sterben herstellung von Brot Ausgewählt ist, Wie Später Erläutert Wird, sets Menge der Hefe verwendet Werden sterben. Wenn Ations Nicht erwünscht ist, das Brot anstieg schnell zu Haben, Eine geringe Menge, ETWA Ein Achtel Kuchen Presshefe oder Couple of Esslöffel ende Flüssigkeit Hefe, genügt Für jeden Laib; Jedoch, perfect für schnelle ansteigen gewünscht Wird, Müssen zwei, drei oder vier Douleur and so viel Hefe verwendet Werden, um Eine ausreichende Menge von kohlendioxid around kürzerer Zeit herzustellen. Ations sollte Daran Erinnert Werden in that ,

typically the weitere Hefe verwendet Wird, Desto schneller Wird sterben Notwendige Petrol Erzeugt Werden sowie, Wie gezeigt BEREITS Wurde, ist sterben Bildung von Fuel, das Brot leicht sowie porös macht. NEBEN Mehl, ende Flüssigkeit und Hefe, A Teelöffel Salz, 1 Esslöffel Zucker sowie A single Esslöffel Fett Sind Die Bestandteile inside der Regel Für jeden Laib Brot verwendet. Utensilien for any Brotherstellung Notwendige Ausrüstung .-- Nicht zahlreiche Utensilien for the Brotherstellung erforderlich Wir, Aber sterben, sterben Erforderlich Sindh, Müssen von der Richtigen Kunst, Wenn Die-off Besten Ergebnisse erzielt Werden Sollen. Es umfasst Eine Schüssel und Deckel, Ein Mehl Sieb Messbecher h Der Standard-Größe, Eine für feuchte and also a dog's hair kick the bucket Trockenen Zutaten, Messlöffel, including a Crash, Messer und Spachtel Einer zu messen; a fabulous langstieligen Löffel zum mischen; sowie Backen und Brot, Pfannen. Es sei denn, sterben Tabelle, to make certain that sie als Formplatte verwendet Werden, Wird realmente es notwendig sein, zu der genannten addition Geräte, Eine Formplatte von geeigneter Größe zu schaffen. sterben Rührschüssel Kann Ein irdenes Ein oder Ein Metall sein. Perish Größe der verwendeten Pfannen sowie das Product Günstige Samsung Galaxy S4, aus dems sterben Schalen gemacht Werden sollten Gleichsam sterben aufmerksamkeit. Pass on Laibe Werden gefunden, schneller sowie gründlicher,, ideal Nicht zu groß gemacht Werden gebacken Werden, und Jeder ist throughout Einem separaten Formular gebacken. Pfannen, sterben Eight Zoll lang, Several 1/2 Zoll breit und A variety of Zoll tief Sindh, Sind von Einer praktischen Größe. It is possible to aus Zinn, Eisenblech, Alloy und Einem wärmebeständigen Glas, sterben Einzige voraussetzung ist, Dass alle Any einem Backen Pfannen aus dems Gleichen Werkstoff sein, weil, Wie Wärme dringt schnell einige Materialien als weitere, sterben Zurück Erfolgen Dann mehr einheitlich sein.

Komfortable Ausstattung .-- Während sterben Utensilien during Abb. Step 2 Sind alle sterben tatsächlich bei der herstellung von Brot, Brot Mischer, von Denen Eine Craft ist for Requirements certains Kochens, Teil 2 beschrieben erforderlich Wir Sind, Werden sehr bequem Durch Depart this life Hausfrau, Pass on Grosse Mengen von Brot auf einmal backen Müssen sowie gefunden Werden wer sun hat Nicht viel Zeit, ium zur Arbeit zu widmen. This specific arbeitssparende vorrichtung verwendet Werden Kann und Natürlich Ebenso oft Durch Die-off Hausfrau, sterben Nur eine geringe Menge eines Brot macht verwendet, Wie zum beispiel Zwei bis vier Brote; Jedoch puede ser ist eigentlich nicht von ihr Benötigt Werden Samsung galaxy s6 edge 64GB, wie sie can easily Eine solche Menge leicht und schnell zu Handhaben. Ein Kühler, der Aus einem Rahmen durch Drahtnetz bedeckt sowie von Kurzen Beinen Unterstützt Besteht, is likewise to choose from Eine Bequeme Appliance Samsung galaxy s6 edge+, nr ations als ein guter Ort, Auf dem Brot legte abkühlen dient. WENN EINES about this Geräte Nicht verfügbar ist, Ersetzt Jedoch leicht Durch Strecken Eines Drahtgeflecht Über Einem Holzrahmen Hergestellt Werden.

THE CROWD at Raf Simons’s Spring 2017 menswear show at Pitti Immagine Uomo in Florence seemed more uptight than usual, yet that’s exactly how Mr. Simons intended it: Scattered among the wound-up throngs of editors, buyers and gate-crashers were 266 secondhand mannequins, some seated stiffly, others frozen into upright positions, all clothed in archival pieces from his 21-year career in fashion. Though the dummies were arresting, the Belgian designer, 48, later downplayed this unconventional look back. “The pieces weren’t chosen with a certain kind of curatorial intention,” said Mr. Simons. “I didn’t want it to look like a typical kind of retrospective.”

Mission accomplished: Between the spooky setting in a cavernous former train station, the wooden mannequins and his decision to show “off calendar” (forgoing his usual Paris Fashion Week time slot), it all felt more like a Robert Gober art show than a museum tribute. Mr. Simons is, after all, still hard at work, his every move watched by industry insiders amid speculation that he may be joining Calvin Klein—after concluding 3½ years as creative director of Christian Dior’s women’s collection, in 2015.

Mr. Simons continued to riff on his signature elegance in his Pitti Uomo menswear show. The cornerstone of the collection was a series of loose, photo-enhanced shirts, knits and jackets created in collaboration with the Robert Mapplethorpe Foundation: voluminous pieces emblazoned with images of Debbie Harry or eroticized flowers by the photographer, who died in 1989.

Much like his designs, our chat with the usually circumspect Mr. Simons reflected a broad array of preoccupations and influences. He was outspoken about tailoring (“so much bad suiting out there”) and his design process (“no system, no rules, no structure”) but also about mobile phones, the African countryside and ’70s dance music.

One of my favorite spots in the world is: Puglia in Italy. There’s a house by the sea I go to, and outside, it’s just a horizon line. It’s that feeling of eternity: It allows you to think. If you put me there, I wouldn’t need love or anything anymore.

Between the country or the city, I prefer: the country. I live in Antwerp, a city that’s kind of like a village.

A place I’d like to visit again is: Kruger National Park in South Africa. It’s mind-blowing how it sits so far away from anything you’ve ever experienced in a city. There were no people, no proof of human life, just animals and animal behavior. It’s survival of the strongest, which is fascinating.

One thing I’ve had forever is: A yellow T-shirt with a black print on it from the movie “The Shining” that goes way back to when I was a teenager.

If I could be granted one wish, it would be: solidarity. That may sound emotional—politically emotional—but with everything that’s happening, I wish everybody would just let each other be in peace.

A current band I love is: The **. At first they seemed weird but they overwhelm me—massively—all the time with their intelligence. They may be the group that’s had the most impact on me in the last five years.

An old album I still listen to is: Kraftwerk’s “The Man-Machine” [1978]. My 1998 show was called “Kraftwerk” because I had four boys in red shirts in it who looked like replicas of the band members.

If I could tell my 20-year-old self one thing, it would be: grab and protect love when you find it. Cherish it, focus on it, concentrate on it.

My dream client would be: anyone, really. When I design, I am thinking about a lot of people, not just one. It’s more about connecting to a certain kind of generation or a certain kind of person that will connect to what we do.

I always wear: Adidas Stan Smiths. I have had periods where I only wore Stan Smiths, maybe from age 15 until I was 25.

The place that most inspires me is:everywhere. Some people have to go for a swim or have a holiday to be inspired, but for me, it’s there when I walk out the door.

My favorite movie directors are: Stanley Kubrick, Todd Haynes and Alfred Hitchcock.Kubrick’s movies are so visually striking, especially “2001: A Space Odyssey” and “Eyes Wide Shut.”

I collect: art. I started collecting more than 15 years ago. Cady Noland, Richard Prince,Cindy Sherman, Isa Genzken, Rosemarie Trockel, Charlie Ray, Robert Gober are artists that have made a huge impact on me on all levels, emotionally, conceptually, visually.

The hardest part of a man’s wardrobe to get right is: the tie and suit. [There is] so much bad suiting out there in terms of fit, style and fabric. So, when I design, I don’t start with fit or fabric, but with meaning. The phrase “suit and tie” has a special place in our vocabulary.

One of my favorite books is: The Christiane F. book [“Zoo Station: The Story of Christiane F.”—about a teenage ****** addict]. The movie [1981] was an amazing interpretation, but the book is more striking.

I feel most proud about: simple things like being able to handle love and friendship and family. Or taking care of my dog. Of course, I do also feel proud of what I do.

I am a big fan of: furniture design, especially French or Swiss designers such as Jean Royère, Pierre Jeanneret and Jean Prouvé as well as Japanese-American designer George Nakashima. I love how beautifully designed furniture sits in history—it’s unpretentious.

The one thing I always travel with is: my sweatshirt from Vier, a skateshop in Antwerp. “Vier” is the Dutch word for four. I always take it on flights because I refuse to put on the pajamas they give to you.

I wish I could always be with: my dog, Luca, a Beauceron, who behaves like everything except a dog—more like a cat or a frog. She’s still a baby.

The one thing I wish didn’t exist is: mobile phones. I am old enough to remember how it was before them. There was something much more beautiful about not having one. We communicated in such a different way with each other.Read more at:http://www.marieaustralia.com/formal-dresses-2016 | www.marieaustralia.com/vintage-formal-dresses

WHITE DOWN

White down
so high 
and yet so lowly, soft,

your flecks of light
where brown turf darkens 
damp,

so innocently growing
'spite the weather;

torn clouds,
against the blue or grey,

beside you green of moss
stone, heather, 
grasses, hay,

Not lauded, 
given honours like the rose
but there the mountain knows
your sweet repose. 

M. A. Waddicor
10th sept 2011.

Translated into Norwegian...

MYRULL
 
Kvite dun
så høgt på strå
og likevel så kravlaus, mjuk.
 
Lysa dine logar
der torva mørknar
fuktig, brun.
 
Du veks uskuldig, rein
trass uvêr,
rivne skyer
mot det blå og grå.
 
Ved sida di er grøne mosen,
stein, lyng,
gras og vier.
 
Ikkje lovprisa
eller gjeve heidersteikn, som rosa bar;
men fjellet kjenner til
din vakre kvilestad.
 
            M. A. Waddicor/ Gjendikting ved Åse Lilleskare Faugstad

COTTON GRASS YOU WAVE

Waving at the sky,
you tufts of downy white,
your presence in the marsh,
or standing on the cracked dry earth,
the bottom of a bog.

So delicate you are,
in such a place,
where winter blizzards blow,
and icy waters, snow, 
cover your bed. 

Yet there you always are, 
a faithful friend to travellers,
a light where grey skies dull,
a flag to show where not to go 
in rain.

As pretty as a poem tossed 
on hardy stems
not pictured in a painting
yet as dainty, beautiful 
and free, 
as any bloom can be. 

M. Ann Waddicor 
10th September 2011.

was ist es nur, dass es tut
dass ich nicht mehr bin ich selbst
unter tausend, selbst bei dir
Sonnenstrahlen fallen gut

lassen glitzern
lassen fallen
setzen sie in Ironie
lassen los
und trocknen leise
was ich nannte Melancholie

was ist es nur, dass es tut
dass ich weine, nicht mehr rede
selbst bei dir, du der meine
du sagst es ist vier Uhr vier

lassen sagen
ohne Worte
was ich nicht zu fühlen vermag
halten fest
verlieren sich
verlieren mich
verlier ich dich

sie flüstern leise
du bist so stolz

Tat Deutschland hat ihren Tag
tat wahre Krieger bekommen Gerechtigkeit
lassen Sie mich in einem u Boot sterben
mit meinen gefallenen Rittern

Senden Sie es an den Boden
vergessen zu werden
Ich bedauere so das
Kein Schuss Die vier angestarrte Scheide

Im Kopf das Bumsen

By Christos Andreas Kourtis aka NeonSolaris

Jy het die reg tot lewe
Oh grondwet, die dood lag jou uit!
Die sardoniese blik
van 'n gesteelde besluit,
**** jy nie die klop-klop van vier perde hoef
wyle die openbaring in
jou blaaie kom poef.

Skaam jy jou nie
vir sulks blatante leuen,
of het jy jou ore aan Satan verleen
toe jy jou hoop soos saad versprei
om naief- die jeug, in die versoekingte lei.

Ons eet karkas-krummels
as 'n daaglikse brood
Terwyl jy ons verseker
dat jy die waarheid ontbloot
soos die arme tiener meisie,
geryp; en nou - dood.

Jou bedoelings was goed,
maar jou kakpraat te groot.

O Sol que eu vejo hoje,
Brilha tanto!
E pouco importa o que aconteça,
Eu tenho a mim, e isso basta,
Ter você vai muito além,
E eu não tenho forças pra lutar.
Se você vier atrás,
Há uma vitória a ganhar,
Mas se não, nada perdi.
O brilho no meu olhar se intensifica,
E o que me faz viver é a saudade do mar.

Omdat we je graag zien,
omdat we nog eens iets moeten gaan drinken,
omdat we je het beste wensen
en daarop willen klinken.

Daarom sturen wij dit kaartje,
op nog een pracht van een nieuw jaartje!

Vier het goed, verzorg jezelf
vierentwintig zeven, maar vergeet tussendoor
niet te genieten van het leven!

One Two, Three Four
Eins Zwei, Drei Vier
Quatre Trois, Zero Un

We sway to the tunes
As we maintain eye contact
The vividness of the day in when we once met
The promise to teach me your dance

You kept your word
That this wouldn't last
That these moments would go by fast
Step by step I paved my way
to this day
As you taught me the Waltz
The Cajun, The Classics

You swept me off my feet as we turned and twisted
In our own little world
Where the skies filled with glitter
And the stars no longer wandered

My naive self refused to believe this would end
That the fireworks I hear were not just hallucinations
I was blind, confused, oblivious to my surroundings
Unable to snap back to reality

And Time flew by fast like you reminded me
I was to return soon
Return to a place that was no longer next to your side
A Lonesome place where my feelings must hide
As of you, you will move on to much brighter filled days
Quickly forgetting the way we played
When the music controlled our swings, our sways

Oh the way you moved my heart
Feelings I shall not forget
For now you have taught me your dance
The steps that I learned hastened so fast
Those steps that led us to our Final Dance

Learn how to detect, contain and mitigate threats faster,  

that' why our kind studies war.



War against chaos and all it's spawn

Since the dawn

Never lasts forever.

Ever-y story's hero in the end

Wins.

No exceptions. That is the rule.

On the scale of grav-it-a-tional forces,

This muthas-hell-vier'n hell i'self



In yo face spell chick ain't nobody

Got no papers on me

I am the teller of this story in this book

And you, there, are the readers.

Welcome to my collection of clichés that click

In time to the echoes of the spheres



A.I. *******. In a gotta d'feata! We allus try umph, first.



Say you put a spell on me

Correct me if you must, but

Later, spell chick.



Now we have guests who've never known

A hatter at all, mad or otherwise.

I have known three, all saner than me,

You shall see



What I mean but

Do not fear

Fear is a terrible thing right

Here here

We need God's Grace by everyname

Any of you can think or say or know fore sure

Carries hope and peace to nullify victory.



That legend was lost but indeed did hap

Upon a time when songs

Lived the stories and the stories were legend.



So few survived the chaos at Babel and

Those few that did are t'ain'ted all to hell

One's I heard tell 'em as well

Say it ain's so. All to hell. T'ain't

Whacha thank ye know ye know



Crazy old coot pushin' her Safe Way Cart

Cat-a-corner from the zoot suit shoppe

To Walgreen's, middle o'fift n'Broad Way

Downtown LA, back in the day



Can you see that man. That really happened

Jus' the way you

Saw it.



Onliest thing is it only happened now then



Get that it's like getting' all wrapped up

In light no shadow at all

Doubt to the power of the farthest prime

Fails to fragment such light

From the outside.

Ever-y fire-y dart that twisted sucker shoots…

Quenched by the light.

Good news always seen from every perspective

Same thing, perfect

Peace full nothing broken nothing missing

Shalom

Get that, too.



Now, just watching old Mrs. Crazicuk

Makin' Her Safe Way Cross Broad Way



Famous image. It looks exactly like you imagined

It would

Had you imagined it and

Not just me I mean

I think we all are lonely for

No reason for some reason



Notice Mrs. Crazicuk's book cover

Upper right corner

JESUS SAVES in ten foot tall daylit neon

Top'o Fift' n'Hill. That's real.



I got a picture. From the internet.

(Hello Poetry don't take images, so Google-it)

Look real

close

If someday somebody explains that  

Castle Gothic crenelated thing in the back ground.  

that  



I know ain't real.

Please point out I point out  

the otherwise overlooked – image

If you ever see what I mean



I imagine there's more mystery  

than here at the moment



You see we wee are at peace  

ever-when you find us

Lying

Legends have never turbed us in such a way

As to cloud the waters  

Stirrin' mud

o' cludin' weak light to simulate more dark,  an old trick/

an angel-like message troubles the water
stirs up the muck and mire.

Jump in

Then walk home the long way



This book we're in, life we're in, what ye may call it, we say here,

So it is.

Amen.



Little people. Legendary little people survived

Babel's chaos?

Not that I know, no.

Een muts, een stretcher zonder hand-
vaten en een frigo bovenstoe met kant-
en-klare maaltijden, vier maal vier door-
rijden om twee straten verder parkeer-
plaats te zoeken en googelen waar neer-
waarts meer plaats te vinden is in vol-
gebouwde, niet-te-weten *** toe, gebieden.

Ze zouden de domme mens moeten verbieden.
Vele vliegen in één klap, dan zou ik rap verdwijnen.
Alles is beter dan je hele dagen lang in het donker in één kamer weg-
kwijnen.

What is made can usually be traced back here
From the car to an independent hops bar,
Serving its very own mind blowing beer
We are seen as a disruption, a small disturbance out on our own at sea
Ruling the world and the oceans years ago, ships crafted and made from the Royal British oak tree
Let our language be spoken at every outpost no matter where we did sail
Not all stories of heroism and splendor as some were deceitful, leaving many worried and plenty frail
Places we did not conquer still stand strong without the British rule
To think we could conquer Ireland, oh such fools
But the British way has set paths for many to follow
Austin Powers, Yanks with English accents through to Sleepy Hollow
From the telephone, the toothbrush onto the television
All used throughout the world and perfected to precision
Hate us for winning two timely World Wars
We'd all be speaking German yah, Zwei plus zwei ist vier!
Music from the 60's set the kids all in a spin
It carried on throughout our time, daft lyrics still make me grin
So don't knock us for having a mind of our own
Whilst people sneer and mock our ways, we always had our very own tone
As it is what we are and I hope it will stay,

That Madly British Way

JJB

Wij zijn één vanwege vier,
vieren samen zijn al strijdend,
met plezier, uitsluiting vermijdend.
Wij zijn een dorp van kleuren
die samen roeren en op meer dan
duizend toeren, samen huizend,
de hongerigen naar samenhorigheid
moedwillig voeren.

Vier Spaziergänger
laufen hintereinander

Aufgereihte Perlen,
mit gebührendem Abstand,
an der unsichtbaren Schnur der Kontaktbeschränkung,
jeder im Knoten seines Schweigens vertieft

We zijn overbelast met nieuws,
eigen belang in contrast met views
en clicks en tok en tiks.
Wanneer is er tijd voor niks,
voor in het nu leven?

Hooguit twee van de zeven.
Als er toeval in het spel is.
Anders één of nul dagen met gemis
van overspoelend energieverbruik.

Ons opladen werd in fnuik
gezet, in vluchtersduik gewed
dat productiviteit maal vier
kon gaan als we stopten met pootje baden.

Nu zijn we bijna allemaal fier
alsook volledig overladen.