On the daily music front - a quickie reply to Lingting

Waistline2 at aol.com Waistline2 at aol.com
Wed Nov 12 09:35:20 MST 2003


In a message dated 11/12/03 5:13:19 AM Pacific Standard Time, 
lingting2000 at yahoo.com writes:

>Yes, there is something to be said about the differences in
media, but people did know things relative to the times and
that simply cannot be the essential aspect of the
differences in knowing about celebrity indiscretions. IMO
the real issue is the something I keep trying to articulate
– I'll try the term “threat matrix” if I might borrow from
TV. The musicians of the blues generation, Muddy Waters and
Howling Wolf etc. sang songs about all kinds of violence
and mayhem; however, having reached mass white audiences in
their later years, their words represented just enough
danger to engender a scalp (or crotch) tingling thrill, but
not any real threat to one’s sense of well being. 

It is convenient to forget their intensely sexual,
Southern, do-headed, razor strop presence of their early,
pre-crossover days, in favor of their later years of
benign, elderly posturings and songs of long-ago spent
youths. Talk of shootin' your women if she messes around
is less threatening from an aged man, than from the boys
who one sees at the gas station. In fact there is a white
supremacy built into to this process - black men are
"dangerous" when young and virile; "profound" when long in
the tooth - but essentially singing of the same violent or
sexual things.<
    
Comment

Up early and already working. I never tire of reading your insights of the 
modern critics and did read the Grace and Kelly article by Mr. Mark Anthony 
Nealing. As I read the above two paragraphs I could hear the words  . . . . 

"shoot my baby catch me a cannonball . . .cuse if she won't love me she won't 
love no man at all. cee - cee- rider." Lou Rawls and Charles and Pettiford. 

Well - Mr. Mark Anthony  . . .Nealing  
on both knees 
before the edifice of the slave masters architecture, 
sensibility and apparent inability to accept the obvious . . .
bow his head
and
accept that, 
which is the obvious trademark
of him who is marginalized
and accepts
margin as totality. 

In history what music has not come out of the Church or the spiritual well 
spring of women? Was not the first mass produced book published by the colonies 
to become the New World a book of palms around 1628? Yes, the role of the 
Church is pronounced in human society, but first came the sound and then the music 
of the sound. 

Why pretend and convert avoidance into simpleminded aggression? Are we not 
simply reading from the first grade book of Dick and Jane?  Nealing writes as if 
he has not mastered first grade. Let's get to the point. 

The big penis man and deep rived bed womb of women is not merely black but 
African American in symbolic America - although this is changing to a 
considerable degree, and here is the danger. Threat Matrix as you call it. The problem 
is that most people are probably not threatened, although I still have moments 
of insecurity. :-)

It is not as if historical "European music" and cultural sensitivity is 
without sex as appreciation and distortion; reward and punishment - joy and pain. 
That which began as European inheritance - if such a concept is acceptable, of 
music and life appreciation sailed to America, became transformed on the basis 
of a new matrix. There no longer exist any music in America that is American 
music that did not spring from the gyrating hips of the slave - the ultimate 
hipster who jazzes around. 

One who sets the bar - standard, in the evolution of musical form cannot be 
an exaggeration. There is nothing hypersexual in Marvin's music and "I Want 
You" came extremely close to capturing the actual striving and feelings of real 
America, including its very white European face - harmonic structure. To house 
the obvious in the temple of the black church denies who we are. European 
harmonic structure is not a product of the black Church. Blasphemy. 

"Everyone wants to do it.
Bird do it
Bees do it
Even you and eye must do it."

To understand the elementary is to see. 

Mark makes his mark and nealing before inverted symbolic white women - whose 
inversion is not simply at the hand of "the white man" but he who is 
slavemaster and male white. Mark neals and accepts this framework, with pretense to 
being Anthony. This man - slaveholder, not the other - spew forth the torment of 
a man who debases women and is compelled to prove that his degeneracy is 
toward "That Girl" and not "My Girl." 

As if "My Girl" is not "That Girl." 

Symbolic white women - "My Girl," to this man slave owner, is "That Girl" 
when the real women looks in her own mirror. The "threat matrix" is created as 
the architect who is constructed as the guardian of distortion preservation. The 
natural lust and longing of bodies cannot be allowed to commingle in lusty 
sex. There is money to be made and whose money is made by Nealing? Sure there 
are dimensions of human existence and justifications for insanity are not in 
short supply. 

I will be accused for the millionth time of seeing money - capital gain, 
behind every motivation and this is simply not true. Capital gain peers from 
behind motivation to see me. I do not call the former the latter. How can one not 
feel the cold gaze of the former as he sucks the life from the latter? 

How can one make a serious mark nealing before false Gods? 

Mr. Nealing makes the Mark of blasphemy before the temple of Marvin and this 
is to much pain to bear. The evolution of "I Want You" - no matter where one 
begins their journey, must carry one to "All The Way Round." 

This is the elementary. One must travel "all the way round" to experience 
life and acquiring knowing. Nealing does not know that this particular song was 
the center of Marvin "Live at the London Palladium," in repects to the album "I 
Want You." Was it the Palladium?   

Marvin actually sings to Mark nealing with his feet stuck in his ears. 

"You did not understand
My Philosophy.
You just ran away from me.

. . . if you have to go 
all the way round."

Mark has not gone all the way round and remain in the archetype of the 
distortion. Shit does not know it stinks. 

No one can see beyond the choice they don't understand. Understanding ain't 
just mellow but the gift of a history birth. Mark was birthed nealing and 
genuflecting. 

He that neals cannot return to the source. 

Thanks for the article baby. 

Melvin P. 


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