2024-05-20 Moonlight Sonata
‘(T)here’s’, (y)our man ©in said it
better before during and after videeing / the same – the(ir) new neighbo®hood
tom©at making / his ®ounds - and assigning the tom©at a nom-de-gue®®e befitting
the long-haired musi© ©on©e®t that the three denizens of the Noslou© home in Luksvegas
had just attended be©ause trying and failing to ©lass up / the joint as we do,
‘Sergei / ®a©h-meow-ninoff’, pa®doning / the pun is all / we gots.
©ou®se there’s no end / of ©ats up on
out on up on out on up on out on up on out on up on out on up in here in
Luksvegas – ‘we have the two dogs’, (y)our (wo)man the(ir) new neighbor
(wo)mansplained the same and apropos the two ©anines accompanying her at the
time, two Saint Bernards, modified genetically somehow to be smaller than the
usual sloppy d®unk ve®sioons of the same that we are accustomed to videeing in
the movies like lovely lovely Ludvig Van Beethoven, and not like your Cujo,
innit Mr. King, ‘and seven / ©ats’ – and they come / and go as we do be©ause
felines gonna feline, but the appearance of (y)our man the newest tom©at and
he-who®e Sergei ®a©h-meow-ninoff (that’s
enough, -id.) was what passes for news that four-lettered wo®d up in here
be©ause unlike (y)our men the other st®ay and he-who®e tom©ats who come for a
bit and sometimes stay but mostly go be©ause tom©ats gonna tom©at, (y)our man
Sergei ®a©h-meow-ninoff doesn’t look
like he ran the hundred-metre dash in a ninety-met®e gym, ‘this year it looks
less’, (y)our man ©in said it better recently at wo®k that four-lettered word
and apropos the shee® / volume of nonsense likely to be coming their way this
year be©ause less / of it overall, and using the ©infamous t®a©k-and-field
analogy, ‘like a hundred-and-ten metre / sprint, and more like a hundred-metre
/ sp®int’, what passes for news is all / we gots.
What it was at the latest long-hai®ed
©lassi©al music conce®t up in here in Luksvegas – held last Saturday after
before during and after it became another Sadu®day Night and I Ain’t Got
Nobody, innit ©at Stevens (hooker please, -id.), and p®efa©ed as we do in the
pixels and pages of the edition-before-this-one of (t)his Take This Thing
Back to Balti-memoi®es and lovely lovely Ludwig Van’s Moonlight Sonata (the
edition of course which also ©included the title and pun©h-line / both about
(y)our man ©in ®IP-ing as a nom-de-plume be©ause ‘©in-f®ee at 53’ and all /
that, but who’s / ©ounting ?) – is that (y)our (wo)men the players and members
of the long-hai® supe®g®oup Pontia© En©hanté were after slaying it that after,
and receiving a rousing round-of-applause at the end of the concert for their
efforts as we do be©asue slaying / it, including from two members of the
audien©e who gave a well-deserved ‘ standing / O ‘ for the ©ello and piano
playe®, who had just completed an hour-and-a-half recital of some of that sweet
sweet Shostakovitch long-haired ©ello-and-piano music, and had slayed / it as
we do, ‘my idea of heaven’, the piano-playing ©atholi© priest-
character®-who-doesn’t-die (hooky please, -id.) in William Friedkin’s film
version of William Peter Blatty’s immo®(t)al novel The Exo®©ist says it
better and apropos / the same and slaying / it, ‘is that I’m playing at the
pearly gates,’ and here in the movie (it’s the ©infamous ©o©ktail pa®ty s©ene
where (y)our (wo)man-©hild Regan McNeil, as played of course by the actress
Linda Blai® in the movie, goes ‘you’re all gonna die / up there’ to the
ast®onaut present and d®inking his face off as we do, before during and after
Regan pisses herself on the ®ug be©ause ©aptain Howdy) the p®iest-characte®-who
doesn’t die (that’s enough, -id.) delivers the pun©h-line as we do, ‘and they
love / me’, slaying / it is all / we gots.
Course (t)here’s a ®eason that (y)our
(wo)men the members of the long-hai® ©lassi©al musi© supe®g®oup is supe®sta®s –
or anyway they certainly pack in the S®O / Standing ®oom or anyway Sitting
®oom Only be©ause Olds audien©e giving
the duet ‘standing / Os’ last Saturday after before during and after it became
another Sadu®day Night and I Ain;t Got Nobody (that’s enough, -id.) in the(ir)
concert spa©e formerly known to (y)our man a (much) younger ©in as the ‘uppe®
ba®n hayloft’ back in the 20th, when we were working summers there
at their Aunt Big ®ed and Uncle Guy’s horse farm formerly-known as the Fa®m of
the Mountain, ©utting, ®aking, and bailing / hay morning noon and night and
loving every other minute of it be©ause pumped-up t®iceps and jodhpur®s the
o®iginal lululemons, innit Itt – and (y)our man ©in is still hulk-smashing away
at (t)his Take This Thing Back to Balti-memoi®es and lovely lovely
Ludvig Van’s Moonlight Sonata aka Sonata 14 with no ‘standing Os’ to speak of /
for his efforts, unless it’s the ‘O’ in the ‘apprObation’ with which it has
been received at times so far be©ause da®k that four-lettered wo®d at times,
‘of course it’s / da®k’, (y)our man Luke Wilson as one of the fils Tannenbaum’s
in Wes Anderson’s immo®(t)al film The ®oyal Tannenbaums mansplains it
better and apropos his own ostensibly ©infamous last wo®ds of a letter in that
film be©ause about to snuff it, ‘it’s a sui©ide / note’, bailing / hay morning
noon and night is all / we gots.
‘How do I get’ goes the set-up line to
the hoa®y B®oadway-adjacent entertainment indust®y joke about the
f®esh-off-the-bus ®ed-hot ingenue in New Ja©k ©ity aksing the same of a
passerby on Fifth Avenue or whatevs, ‘to ©a®negie Hall ?’, with the pun©h-line
of course being ‘p®a©ti©e, p®a©ti©e, p®a©ti©e’, and isn’t (y)our man ©in the
humble(d) narrator of (t)his Take This Thing Back to Balti-memoi®es and
Moonlight Sonata - ©inspired as we do by the terrific pe®fo®an©e two (!) afters
ago by the cello and piano-playing members of the long-hair ©lassi©al
supe®g®oup (that’s enough, -id.) Pontia© En©hanté – having an o®gy that
four-lettered wo®d of ©®eativity as we do of (t)his Vi©to®ia Day formerly known
as ‘May 24’ l o
n g week-end up in here, hulk-smashing away
now, ‘hunting’ (y)our man a fellow-writer described the seemingly archaic but still in use method of finding and typing
and hulk-smashing the letters and keys on a QWERTY keyboard, ‘and / pe©king’,
at (t)his Take This Thing Back to Balti-memoi®es and Moonlight Sonata,
before during and after fully ©intending to afterwards and after / a da®t
hulk-smash away as well as we do at the piano keys of the upright Steinway
piano here at the(ir) Noslou© family home in Luksvegas up on out on up on out
on up on out on up on out on up in here on the Quebec side, and more specifically at lovely lovely
Ludwig Van Beethoven’s 14 th piano Sonata, aka the Moonlight Sonata, chosen as
a ®esus©itation pie©e for ©in’s long-dormant piano-playing days from back in
the 20th for no particular reason other than that everyone and their
asshole knows / the tune, and apparently lovely lovely Ludwig Van was going /
deaf that four-lettered wo®d when he hulk-smashed it himself back in the 19th,
course (y)our man ©in still on Page One of Many of the thing after several
months of p®a©tice, p®a©tice, p®a©tice up in here as we do and it’s all gonna
get hella harder to boot, (t)his Vi©to®ia Day
l o n
g week-end is all / we
gots.
Course
it’s only the te®®ibly / bou®geois what gets to hulk-smash away at me-moirs and
some of that lovely lovely Ludvig Van’s Moonlight Sonata both of a Vi©to®ia Day l
o n g
week-end – rather than bailing / hay as we do and cutting / the g®ass as
we do up in here – in an o®gy of ©®eativity (hooker please, -id.), and isn’t
(y)our man ©in after eyeing the usual suspe©ts as we do of (t)his Just Another®
Mani© Monday after to gets us through what’s / left of (t)his lost Vi©to®ia
Day l o
n g week-end before during and after month two
of Year / Elevenseseseseses of ®egime ze®o , namely ©®a©ke®s and pla©ebee®s,
but who to our wonde®ing eyes should appear mere minutes before / the end of
the first two-hour shift of hulk-smashing away and before / the beginning of
the second, but (y)our (wo)man HRisSue, ‘I don’t mean / to be ®ude’ goes (y)our
man ©in to (y)our (wo)man H®isSue (who (y)our man ©in swears / to god was
supposed to be after playing / golf that four-lettered word this after, innit
god)’s impromptu and immediately-upon-entering entreaty for a ‘five-minute chat’
as we do be©ause ‘you ove®whelm / me’, ‘but ‘you’ve got five / se©onds’, ®ude
is all / we gots.
‘The
murderer puts down / his axe’, (y)our man Ian Holm’s Moscow PD ©hief says it
better to William Hurt’s Moscow PDetective Arkady Renko in Michael Apted’s film
version of Martin Cruz Smith’s immo®(t)al Go®ky Pa®k – before during and
after stabbing Renko in the back as we do – ‘the poet / his pen’, and no way
does (y)our man ©in get through these last five minutes left now ostensibly of
(t)his allotted shift that five-lettered wo®dle of hulk-smashing away at (t)his
Take This Thing Back to Balti-memoi®es and before during and after
hulk-smashing distractedly now at lovely lovely Ludwig Van ‘s Moonlight Sonata
be©asue you ove®whelme, ‘it’s a good line’, (y)our man ©in said it better and
apropos / the same, it proceeded ‘I just hope she’s not poisoning / our food’, ove®whelmed is all / we gots.
Thank you for reading (t)his Take
This Thing Back to Balti-memoires and Cujo .
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