BlackIntrovert2 🇺🇸

Home watching Star Trek
Everything's o.k.
Little do I know
Soviet missiles are on the way
The bastards set loose
The wardogs Tyr and Loki
Weatherman's predicting rain
But fire it'll be
Minutemen launching, Air-sirens haunting
Warheads detonating, Cremating
I'm living at - Ground Zero
I'm dying at
I'm burning at
I'm frying at
From my bed I hear the sirens
Screaming of foreboding
Populous escaping highways overloading
Bridge is down tunnel's flooded
Only got six minutes
Head between my legs I kiss my balls goodbye
They're finished
MX's blasting, Skyscrapers crashing
Fallout liberated, We're wasted
Jesus I beg of thee
Don't take my life
Return me to the womb
From which I was torn
Birth is a sin
And the punishment is death
I wish you had left me unborn
I shit my pants as I wait for the reaper
Lie in fetal position
Tears stream down my cheeks
As I call out for my mother
And say an act of contrition
We'll fight this war with germs and atoms
Destroy our only home
Our mutated descendants battle the next
With sticks and stones
Are we not savages
Innately destined to maim and kill?
Blame it on the environment
Heredity or evolution we're still responsible
Our intelligence may progress
At geometric rates
Yet socially we remain belligerent neonates

ONE RING TO RULE

In a dark forest with cold lakes
Where the master of the world's
Fire does not go
In the darkest and greatest
Of nights and times.
And they came together
As the house of the dead.
The sons of time's power
The sons of the invincible suns.
We stand in the black circle.

None

Wake me up with laughter.
Wrap me in your arms.
This ain't
No morning after.
Never been so warm.
It didn't take so long
For us to feel this way.

Can a good thing last longer than day? Where do we take it
Now, now that we caught fire? Will something greater grow
Out of this desire? Should I drop my guard at the risk of being
Used but the way you do those things to me, how can I
Refuse?

I could get addicted to your energy the way you take me over,
Pulling on me. Our hearts beat together, out timing is the same.

Can I trust my feelings, save myself the pain? Where do we
Take it now, now that we caught fire? Will something greater
Grow out of this desire? Should I drop my guard at the risk of
Being but the way you do those things to me, how can I
Refuse?

We could share the mystery, spare ourselves the misery.
Discover it again everyday. We could take love all the
Way.

Where do we take it now, now that we caught fire? Will
Something greater grow out of this desire? Should I drop my
Guard at the risk of being used? But the way you do those
Things to me, how can I refuse?

Herbert von Karajan conducts the Berlin Philharmonic in this interpretation of Wagner's DAS RHEINGOLD, shot in Munich in 1978. The epic production, which was also directed and staged by von Karajan, includes lead roles for Peter Schreier, Brigitte Fassbaenderas, and Thomas Stewart.

Stand up, it's time to rise
It's time for revenge, opposition must die
Chaos, violence, revolution now
We are the real rock 'n' roll underground
Shoot, knife, strangle, beat and crucify
These are the 5 laws of the jungle that I live by
You locked me up in prison on the inside
Now it's time to shoot, knife, strangle, beat and crucify
Shoot, knife, strangle, beat and crucify
I believe in eye for an eye
Your rehabilitation backfired from the inside
Now it's time to shoot, knife, strangle, beat and crucify
Stand up, it's time to rise
It's time for revenge, opposition must die
Chaos, violence, revolution now
We are the real rock 'n' roll underground
Stand up, it's time to rise
It's time for revenge, opposition must die
Chaos, violence, revolution now
We are the real rock 'n' roll underground
Shoot, knife, strangle, beat and crucify
I am the guy, the one you tried so hard to fry
But I was strong, you couldn't take my mind
Now it's time to shoot, knife, strangle, beat and crucify
Shoot, knife, strangle, beat and crucify
These are the 5 laws of the jungle that I live by
You locked me up in prison on the inside
Now it's time to shoot, knife, strangle, beat and crucify
Stand up, it's time to rise
It's time for revenge, opposition must die
Chaos, violence, revolution now
We are the real rock 'n' roll underground
Stand up, it's time to rise
It's time for revenge, opposition must die
Chaos, violence, revolution now
We are the real rock 'n' roll underground
Stand up, it's time to rise
It's time for revenge, opposition must die
Chaos, violence, revolution now
We are the real rock 'n' roll underground
Stand up, it's time to rise
It's time for revenge, opposition must die
Chaos, violence, revolution now
We are the real rock 'n' roll underground
Stand up, it's time to rise
It's time for revenge, opposition must die
Chaos, violence, revolution now
We are the real rock 'n' roll underground
Stand up, it's time to rise
It's time for revenge, opposition must die
Chaos, violence, revolution now
We are the real rock 'n' roll underground

When everyone around him vanishes overnight, scientist Zac Hobson (Bruno Lawrence) finds himself seemingly the only person on the planet. The isolation initially drives him to the brink of suicide, but eventually Zac adapts to a day-to-day routine. After meeting two other survivors, Joanne (Alison Routledge) and Api (Peter Smith), a Maori, the trio roams New Zealand trying to understand what caused everyone else to disappear, why they remained behind -- and whether disaster will strike again.

Well, I'm back
What do you cry for?
When I'm dead,
Will you cry more?
Well, I'm back
What do you cry for?
When I'm dead,
Will you cry more?

This has been a sequel
This is how the sequel ends
This has been a sequel
This is how the sequel ends

Scavengers and sycophants and flatterers
and fools
Pharisees and parasites and hypocrites
and ghouls
Calculating swindlers, prevaricating frauds
Perpetrating evil as they roam the earth
in hordes
Feeding on their fellow men
Reaping rich rewards
Contaminating everything they see
Corrupting honest me like me
Humbug! Poppycock! Balderdash! Bah!
I hate people! I hate people!
People are despicable creatures
Loathesome inexplicable creatures
Good-for-nothing kickable creatures
I hate people! I abhor them!
When I see the indolent classes
Sitting on their indolent asses
Gulping ale from indolent glasses
I hate people! I detest them! I deplore them!
Fools who have no money spend it
Get in debt then try to end it
Beg me on their knees befriend them
Knowing I have cash to lend them
Soft-hearted me! Hard-working me!
Clean-living, thrifty and kind as can be!
Situations like this are of interest to me
I hate people! I loathe people! I despise and abominate people!
Life is full of cretinous wretches
Earning what their sweatiness fetches
Empty minds whose pettiness stretches
Further than I can see
Little wonder I hate people
And I don't care if they hate me!

How lonely you are waiting
At the sunday park
I'll elude you
I will loose you
Existing were no soul apart
You stand on a platform
Your effigy dissolves in my hands
When I feel like someone to lie on
And I feel like someone to rely on
You can't wake up
Illusions born of the air
Something seems so precious there
I'll elude you
I will loose you
As rehearsal of my despair
When I feel like someone to lie on
And I feel like someone to die on
You can't wake up
Oh here me
I'm what you have left
Here I am
In this necrologue of love

None

None

None

I have often wondered
What it’s like to be the friend
Of someone who is just like you
And with that I’ll pretend
That I would keep this friendship
Even though my life might end
So if you’re all through, ooooh darlin’

In Harlem, there’s a warning, ooooh darlin’.....

And I have often wondered,
Sometimes I was sober
Sometimes I’m weak Always getting weaker
Sometimes I’m older Never growing older
I have often wondered
Weary and depressed
Lord help me now
I’m wrecked, reckless

In Harlem, there’s a warning, ooooh darlin’....

Where do you come off,
Giving me the jive
About the jungle that we live in being hard to survive
Where do you get off
You crazy son of a bitch
Taking easy money
Getting your hit without a hitch

In Harlem, there’s a warning, ooooh darlin’....

None

Funny you understand so much
Where do you always find the time
The explanations I found
Are all based on solid ground

Can nobody get inside
I tried but I can't find
There must be a door somewhere
All I need is the key and I'm there

Better to leave it alone
Some things you do disturb me
Better to weather the storm
My thoughts so deep I cannot see

Follow the night, follow your dreams
Follow the signs
And all the things you've seen
Follow the night
Find your fantasy
Follow the road that leads you straight to me

Confusion inside your head
You never know where to turn
Look for the space instead
Wonder how you can carry on

Patience is a lonely word
We never can have enough
The problems you can't ignore
Especially from the start

Better to leave it alone
Some things you do disturb me
Better to weather the storm
My thoughts so deep I cannot see

Follow the night, follow your dreams
Follow the signs
And all the things you've seen
Follow the night
Yeah, you find your fantasy
Follow the road that leads you all the way to me

Follow the night
Why don't you follow your dreams?

Never, never a moment lost
While the work is done
Time flies quickly past
Even for the most eager ones
The pain that we must endure
It's not an easy task
To find what you're looking for
You simply have to ask

Follow the night, follow your dreams
Follow the signs
And all the things you've seen
Follow the night
Yeah, you find your fantasy
You follow the road that leads you all the way to me

William Dawson - Negro Folk Symphony (1934)
William Levi Dawson (September 26, 1899 – May 2, 1990) was an African-American composer, choir director and professor.

Negro Folk Symphony (1934)

I. The Bond of Africa
II. Hope in the Night
III. O Let Me Shine!

Detroit Symphony Orchestra conducted by Neeme Järvi

Description by "Blue" Gene Tyranny [-]
Completed in 1932, and premiered by Leopold Stokowski in Philadelphia in November 1934, this marvelous and neglected symphony was later revised in 1952 after a visit by the composer to West Africa. The first movement, "The Bond of Africa, " opens with a plaintive theme played by a solo French horn that symbolizes for the composer a "missing link, " a break in the human, social chain when his ancestors were taken from Africa in slavery. The beautiful melody is interrupted by chromatic chords whenever it is stated and never allowed to finish. After a development of this original theme, the orchestra suddenly bursts into fantastical variations on the traditional spiritual (called in dialect) "Oh, m' littl' soul gwine-a shine" (Oh, my little soul is going to shine); the orchestration is brilliant and original. The variations gradually develop into more dramatic territory with sweeping canonic imitation. An energetic, cascading coda, finely and richly orchestrated concludes the first movement.

Three low gong strikes, representing the Trinity, open the next movement, "Hope in the Night." An English horn emerges with a moving, elegant melody, "a plea from the darkness, " which is soon taken up by the strings and developed to a dramatic, desperate tension, which is suddenly broken by an Allegretto, a song of children "yet unaware of the hopelessness beclouding their future." The "missing link" melody from the first movement is recalled by a solo cello, and then French horn, surrounded by wind melissima. We again hear the children's song, although it is now mixed with the "plea" melody and the "missing link" melody which are all interwoven and developed in a dramatic Mahlerian dialogue. Tolling bells join in and drive the music to an extreme, passionate cry. A marvelous effect is created with low trombones and an insistent pulse on the tom-tom depicting the drudgery of the slaves' existence. Three orchestra bells with gong are separated by tremolo swells in the strings and the pulsing tom-tom to create an overwhelmingly effective ending.

The third movement, "O Le' Me Shine" (Oh, Let Me Shine), is built on two interwoven themes from the Afro-American folk songs "O le' me shine, le'me shine, lik' a mornin' star" and "Hallelujah, Lord, I been down into the sea." Fragments from the tunes are given to various instruments, which answer each other, and then play in complex polyphonic groups. Some spectacular brass and wind writing occur in the development section. The melodies become stretched chromatically toward the conclusion, and a glorious, spine-tingling coda concludes the work. No mere pastiche of Americana, this grand work is by a composer fully conversant with the subtleties of technique and possibilities of expression in the symphonic form.

None

Day after day, love turns grey
Like the skin of a dying man.
And night after night, we pretend its all right
But I have grown older and
You have grown colder and
Nothing is very much fun any more.
And I can feel one of my turns coming on.
I feel cold as a razor blade,
Tight as a tourniquet,
Dry as a funeral drum.

Run to the bedroom,
In the suitcase on the left
You'll find my favorite axe.
Don't look so frightened
This is just a passing phase,
One of my bad days.
Would you like to watch T.V.?
Or get between the sheets?
Or contemplate the silent freeway?
Would you like something to eat?
Would you like to learn to fly?
Would'ya?
Would you like to see me try?

Would you like to call the cops?
Do you think it's time I stopped?
Why are you running away?

Women are irrational, that's all there is to that!
There heads are full of cotton, hay, and rags!
They're nothing but exasperating, irritating,
Vacillating, calculating, agitating,
Maddening and infuriating hags!

Pickering, why can't a woman be more like a man?

Hm

Yes,
Why can't a woman be more like a man?
Men are so honest, so thoroughly square,
Eternally noble, historic'ly fair,
Who, when you win, will always give your back a pat.
Well, why can't a woman be like that?
Why does ev'ryone do what the others do?
Can't a woman learn to use her head?
Why do they do ev'rything their mothers do?
Why don't they grow up- well, like their father instead?
Why can't a woman take after a man?
Men are so pleasant, so easy to please,
Whenever you are with them, you're always at ease.
Would you be slighted if I didn't speak for hours?
Of course not!
Would you be livid if I had a drink or two?
Nonsense.
Would you be wounded if I never sent you flowers?
Never.
Well, why can't a woman be like you?
One man in a million may shout a bit.
Now and then there's one with slight defects;
One, perhaps, whose truthfulness you doubt a bit.
But by and large we are a marvelous sex!
Why can't a woman take after like a man?
Cause men are so friendly, good natured and kind.
A better companion you never will find.
If I were hours late for dinner, would you bellow?
Of course not!
If I forgot your silly birthday, would you fuss?
Nonsense.
Would you complain if I took out another fellow?
Never.
Well, why can't a woman be like us?

Mrs. Pearce, you're a woman,
Why can't a woman be more like a man?
Men are so decent, such regular chaps.
Ready to help you through any mishaps.
Ready to buck you up whenever you are glum.
Why can't a woman be a chum?
Why is thinking something women never do?
Why is logic never even tried?
Straight'ning up their hair is all they ever do.

Why don't they straighten up the mess that's inside?
Why can't a woman behave like a man?
If I was a woman who'd been to a ball,
Been hailed as a princess by one and by all;
Would I start weeping like a bathtub overflowing?
And carry on as if my home were in a tree?
Would I run off and never tell me where I'm going?
Why can't a woman be like me?

Now just because you're pretty
And you think you're mighty wise
You tell me that you love me
Then you roll those big brown eyes

When I saw you last week
Your eyes were turning black
Go find the guy that beats you up
Ask him to take you back

Don't roll those bloodshot eyes at me
I can tell you've been out on a spree

It's plain that you're lyin'
When you say that you've been cryin'

Don't roll those bloodshot eyes at me

Now I used to spend my money
To make you look real sweet
I wanted to be proud of you
When we walked down the street

Now don't ask me to dress you up
In satin and in silk
Your eyes look like two cherries
In a glass of buttermilk

Don't roll those bloodshot eyes at me
I can tell that you've been out on a spree

It's plain that you're lyin'
When you say that you've been cryin'

Don't roll those bloodshot eyes at me

Now I guess our little romance
Has finally simmered down
You should join a circus
You'd make a real good clown

Your eyes look like a roadmap
I'm scared to smell your breath
You'd better shut your peepers
Before you bleed to death

Don't roll those bloodshot eyes at me
I can tell you've been out on a spree

It's plain that you're lyin'
When you say that you've been cryin'

Don't roll those bloodshot eyes at me

Don't call my name out your window, I'm leavin'
I won't even turn my head.
Don't sent your kinfolk to give me no talkin'
I'll be gone, like I said.

You'd just say the same old thing
That you be sayin' all along,
Just lay there in your bed and keep your mouth shut,
Till I'm gone.
Don't give me that old familiar cry and fuss and moan

Understand your man, I'm tired of your bad-mouthin'
Understand your man.

You can give my other suit to the Salvation Army,
And everything else I leave behind
I ain't takin' nothin' that'll slow down my travelin'
While I'm untanglin' my mind.

I ain't gonna repeat
What I said any more
While I'm breathin' air that ain't been breathed before,
I'll be just as gone as the wild goose in winter

Then you'll understand your man, meditate on it
Understand your man, you hear me talking
Understand your man. Remember what I told you
Understand your man
Understand your man

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Trust No One