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veda 36



Last Updated: 12/12/2009

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Status: Single
City: San Francisco
State: California
Country: US
Signup Date: 6/13/2006

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Wednesday, June 11, 2008 
Blaktroniks' Mechanized Soul  and Just Bank's Under the Influence available on iTunes now!



Wednesday, June 11, 2008 

Knowledge         Roped together, our rest steps and pressure breaths propel our forward motion like synchronized swimmers through the subzero, supraglacial abyss

Each step a kiss, intercourse of crampons gently penetrating snow, it's no

Wonder our goggles are fogged,

Pendular swing of ice axes guides our steps to the summit of ecstasy upon which we pivot on an axis of depleted oxygen molecules

At the apex, it is like we are baptized in mid-air above the earth, but submersed in the precipitation of concentrated ultraviolet, blessed in the purple haze our ancestors' royal garb

Together we spin 360 degrees enveloped by the panoramic backdrop of cumulus comforters and ice sheets

Each time we spin, each time we spin, each time we spin

The sum of each rotation impregnates our minds for 9 seconds, giving birth to renewed thoughts of love

Will our offspring be nurtured? . . . .

Wisdom             Within minutes, as if breastfed by a diet of apathy and neglect, withering bodies of love are whisked from our circumference and wisped into cirrus

                        Other bodies plop limp on the ice beneath our feet, creating miniature vibrations to shift our tectonic plates

                        I violently shake, my vision becomes blurred, my legs are now glaciated appendages of towering ice falls ready to collapse and . . .

                        Everything is still, silent. So silent that I can hear the increased blood flow through my veins and arteries like raging rivers as my heart pumps faster and my lungs try to gulp atoms of oxygen

                        So silent that I can hear synaptic firings in my brain like gun shots, each bullet an individual realization that I am alone, the end of my rope . . . drifting . . . in space

                        Cold, suffocating and thick like beams of steel painfully squeezed through my tightened pores of flesh to crush bones

                        With despair, I accept my fate, resigned to for_ever_rest, to for_ ever_rest in the death zone, fetally positioned next to frozen bodies of love . . . .

Understanding    As my eyes close, my chest seems to rumble quietly, as if a muffled voice speaking from my soul seeks to deliver a departing soliloquy

                        I listen closely and hear what appear to be words interspersed by or punctuated with white noise

                        I reach for my chest to read the vibrations like my hand was a Rosetta stone and I was interpreting an ancient script of my past life, only to realize that . . . it is only my radio. They must be calling from base camp.

                        Half-conscious, I pull the device from my inside parka pocket, and tune the frequency to listen to the transmissions.

                        "Yo, veda36, this is J-Matic, man. You gotta get out of that zone and come back down, man. We're. . . [static, garbled transmission]. Yo, sun, this is E-Solo, we gotta talk. Don't fade out. You. . . [static, garbled transmission]. Hey, Mr. B, this is Black Cloud. Let me know if you need to. . . [static, garbled transmission]. D, this is Bill. Once you get your legs moving. . . [static, garbled transmission]. D-Shot, this is Will. Man, you gotta get back on that. . . [static, garbled transmission]."

                        As the transmissions stream from the radio, shadows seem to dance around the sun, simultaneously eclipsing the light, and drowning out the voices with every step

                        Then . . . an odd thing occurs. As if emerging from a cocoon, the frozen bodies of love slowly begin to wriggle to life, feeding off the hertz frequency.

                        Using the end of my rope, and lifting with all of their combined strength, they pull me to my feet and begin leading me down the mountain

One resting on my shoulder whispering in my ear, others bridging crevasses and supporting the precariously perched chunks of ice, while guiding my every step

When I see their strength, I realize that . . . love conceived can never be aborted, love born can never be destroyed, only recycled and nurtured

It is with that conviction that I stumble to the base of the mountain, spin and collapse backwards, my vision affixed to the summit. The bodies of love begin to amputate the frostbitten tips of my heart, my vision affixed to the summit. My thoughts intrepidly traverse every glaciated kilometer of the mountain, my vision affixed to the summit

With labored breath, I declare the intention to once again float above Everest

Will I, Ever_rest?

This poem is dedicated to all those who helped me safely navigate down the mountain, and who have invested their love in helping me return home.

 

peace,

36

Wednesday, June 11, 2008 

The hook for "Under the Influence" captures a portion of the song's essence. "Esoteric, be the rhyme in soul and spirit / Let me touch your mind with the abstract and clear it / Literal, I speak the rhyme so you can understand / I keep it minimal for those that want to wave they hands." The song alternates between abstract and literal verses, with the first and third being abstract, and the second and fourth being literal. The initial concept was born out of my frustration with music industry standards which often promote songs of little meaning or lyrical depth. Listeners are conditioned to accept such music as "good." I thus decided to make a song where I, in effect, offered full translations for the abstract verses.

In terms of content and relation to the song title, the first and second verses deal with the power of external influences to affect the manner in which we behave. In the first verse, I mention the following: " . . . wool cloned to cloud sight most when you need it / Bull vs. Bear, glamour, glitter, glare, where / Thought intersects with sex, we transgress, effect / Infatuate with inanimate object. . . ." The lines essentially refer to the "wool being pulled over our eyes" or people being deceived and allowing the "glamour, glitter, glare" of advertising to affect behavior. Such a sentiment is echoed in the second (literal) verse when I mention: "The paradigm unshifted, you see on TV / Light skin, slender frame been the same imagery / Got the minds, they all twisted, the negative accepted / Too many young girls bulimic or anorexic."

The third and fourth verses deal specifically with the explosive impact/influence of words. The third verse illustrates such explosive power with the opening line, "Unclassified object, a bomb set." The fourth verse follows up on/clarifies the ideas in the previous verse by mentioning, "Words can hurt or words can be to your benefit."

Overall, "Under the Influence" thus deals on one level with the impact of visual and auditory/psychological influences upon human behavior. However, as aforementioned, on another level, the song deals with the manner in which music listeners are conditioned not only by the music industry to often avoid complex, meaningful music and lyrics, but also conditioned by society. In a global society that seems to be shifting more towards instant gratification, it is unfortunately often easier to be told what to think than to think for oneself.

Wednesday, June 11, 2008 

My verse for "Wildfire Winds" addresses the issue of violence within the African/African-American or urban communities throughout the U.S. The lyrics depict a mother giving birth to twin sons, one being human and the other being a gun. In the song, I take upon the perspective of the human son, who has struggled within the womb to avoid the violent eruptions of my twin brother, the gun. I rely heavily upon imagery to illustrate such a struggle. Lines such as "Nine months, amniotic twin, wrestle the gun / Inhale powder black, louder clap, light through the clouded sac," are intended to place the listener in the amniotic sac with the human son as he deals with the thunderous gun claps and brief flashes of lightning-type light. After a prolonged pregnancy of 38 weeks, the mother finally gives birth to the human son and the gun. (Incidentally, when I mention the line " . . . deuce deuce to tre 8," I'm not only referencing the weeks of the pregnancy, but I'm also making allusions to types of guns. [i.e., .22 and .38 caliber handguns]). Although initially trying to avoid and "silence" his brother, the human son and the gun become inseparable, and together, they perpetuate the cycle of the violence so prevalent in African-American communities. In the last three lines of my verse, I mention the following: "When I asked moms, she said street was his father / The potent mixture of sex and violence / Every sibling got a twin, rapid spit, no silence." As is implied through the lines, the mother was "impregnated" or influenced by the "streets" or environment in which she lived. (The subtext is that many mothers within African-American communities are often left to raise children on their own. Unfortunately, sometimes as a result of the mother working long hours to make ends meet, the child is parented by the "streets.") The message is that violence not only affects the victims and their families and the perpetrators, but it also has a detrimental impact upon all within the society or community. Further, it is important to recognize some of the factors, such as poverty and societal neglect, which often plant the seeds of apathy and violence.

On a final note, in my verse, as well as edd dee pee's, we both describe the conditions on the streets of inner city America as we see them. The hook for the song was developed through an analogy that edd made between life on the streets and the recent California wildfires (hence the term the "streets is hot").