Almost
Brian Wilson
Patrick Jones/Manic Street Preachers
snow that almost fell around us, between us, perhaps;
her bones burning through leather, through the clasp of air
that washes evenings from the endless dead of highways,
of Helvetica signposts where towns end in names
that tell me nothing,
her bones burning through leather, through the clasp of air
that washes evenings from the endless dead of highways,
of Helvetica signposts where towns end in names
that tell me nothing,
that gave me life, almost;
and the dash of rum trembles on the table near the floor where almost
all the others danced, but I dreamed that somehow they could turn and stare at us,
in orange glasses shone on whitened face,
the kiss of leather and silent broken heart,
and the sunset laid out in stripes like dead hell's angels
on highways where Helvetica spells her name
in a flash of 2:22am, and the lights that blind her kiss
in flickered fits on face-starved pillows,
blood slowly pink
in snow,
like the colours we once touched,
hand painting skin,
the rattlesnake cough of pining child, and flashed fingers of withdrawal,
and a memory killing what was almost ours,
leather and bloodied nose
and the infant fires behind her
driving pistons into a saddened curse of shattered night -
orange,
red,
black leather -
none of these claimed by the scorch of sunrise, nor the whimpered setting sun
in body bags stamped with Helvetica seal;
I watch the highway, from a distance measurable
only in years
and the dash of rum trembles on the table near the floor where almost
all the others danced, but I dreamed that somehow they could turn and stare at us,
in orange glasses shone on whitened face,
the kiss of leather and silent broken heart,
and the sunset laid out in stripes like dead hell's angels
on highways where Helvetica spells her name
in a flash of 2:22am, and the lights that blind her kiss
in flickered fits on face-starved pillows,
blood slowly pink
in snow,
like the colours we once touched,
hand painting skin,
the rattlesnake cough of pining child, and flashed fingers of withdrawal,
and a memory killing what was almost ours,
leather and bloodied nose
and the infant fires behind her
driving pistons into a saddened curse of shattered night -
orange,
red,
black leather -
none of these claimed by the scorch of sunrise, nor the whimpered setting sun
in body bags stamped with Helvetica seal;
I watch the highway, from a distance measurable
only in years
almost, if even that
The Good Side -- Jeffrey Hein
In 1977 Brian Wilson wrote "Still I Dream of It" for the Beach Boys' "Adult/Child" album, which was intended to be essentially a solo album with cameo roles by the other members singing to brassy big band arrangements, along with some cover songs and outtakes of their earlier material. The album was rejected as uncommercial by Frank Sinatra's Reprise Records. (Sinatra had formed the label in 1960, but in 1976 it was deactivated, though it continued to record new material by Sinatra and Neil Young, who refused to move to another label; however, it continued to market the Beach Boys' own Brother Records material.) It was eventually released on the 1993 box set "Good Vibrations: Thirty Years of The Beach Boys," and Wilson included a demo version on his own 1995 album "I Just Wasn't Made for These Times."
ReplyDeleteTime for supper now
Day's been hard and I'm so tired
I feel like eating now
Smell the kitchen now
Hear the maid whistle a tune
My thoughts are fleeting now
Still I dream of it
Of that happy day
When I can say I've fallen in love
And it haunts me so
Like a dream that's
Somehow linked to all the stars above
Young and beautiful
Like a tree that's just been planted
I found life today
I made mistakes today
Will I ever learn the lessons
That all come my way
A little while ago
My mother told me
Jesus loved the world
And if that's true then
Why hasn't he helped me to find a girl
And find my world
'Til then I'm just a dreamer
I'm convinced of it
The hypnosis of our minds can take us far away
It's so easy now
You see someone up there high
And heaven's here to stay
Patrick Jones is a Welsh poet and playwright. His younger brother is Nicky Wire, the bassist for the Manic Street Preachers, which was formed in 1986. "Motorcycle Emptiness" was released as the 5th single from their debut album, "Generation Terrorists" (1992). The song was inspired by S. E. Hinton's book about biker culture "Rumble Fish," the band's earlier songs "Go, Buzz Baby, Go" and "Behave Yourself Baby," and Jones' poem "Neon Loneliness."
Culture sucks down words
Itemise loathing and feed yourself smiles
Organise your safe tribal war
Hurt maim kill and enslave the ghetto
Each day living out a lie
Life sold cheaply forever, ever, ever
Under neon loneliness motorcycle emptiness
Under neon loneliness motorcycle emptiness
Life lies a slow suicide
Orthodox dreams and symbolic myths
From feudal serf to spender
This wonderful world of purchase power
Just like lungs sucking on air
Survivals natural as sorrow, sorrow, sorrow
Under neon loneliness motorcycle emptiness
Under neon loneliness motorcycle emptiness
All we want from you are the kicks you've given us
All we want from you are the kicks you've given us
All we want from you are the kicks you've given us
All we want from you are the kicks you've given us
Under neon loneliness motorcycle emptiness
Under neon loneliness motorcycle emptiness
Drive away and it's the same
Everywhere death row, everyone's a victim
Your joys are counterfeit
This happiness corrupt political shit
Living life like a comatose
Ego loaded and swallow, swallow, swallow
Under neon loneliness motorcycle emptiness
Under neon loneliness motorcycle emptiness
Under neon loneliness motorcycle emptiness
Under neon loneliness everlasting nothingness
Hermann Berthold founded his print foundry in Berlin 1858 and became one of the leading developers of new typefaces, including an early sans-serif ("without extending features at the end of strokes) called Akzidenz-Grotesk (Commercial-Grotesque) in 1896. One of his European competitors was Haas'sche Schriftgiesserei (Haas Type Foundry) in Basel (later in Münchenstein), Switzerland, which traced its origins to printer Jean Exertier in late 16th century before passing to the Genath family, which hired Johann Wilhelm Haas in 1718; he inherited the company and, after 1740, the business was run under the Haas name. In 1957 Haas president Eduard Hoffmann and typeface designer Max Miedinger, who used to be a Haas salesman, developed Neue Haas Grotesk, a new typeface heavily influenced by the Berthold font. It was quickly adopted for hot metal composition, the standard typesetting method at the time for body text, by D. Stempel AG (established in 1915, it acquired a shareholding in the Haas foundry in 1927) and the Mergenthaler Linotype Company in the US (founded in 1886, it became the majority stockholder of Stempel in 1941). Stempel renamed the typeface Helvetica (Latin fort "Swiss") in 1960 to enhance its marketing, and Arthur Ritzel redesigned it for more printing functions. In 1965 New York's Amsterdam Continental Type, which imported European typefaces, began emphasizing its promotion of Helvetica instead of Akzidenz-Grotesk. It was also made available for phototypesetting systems, as well as in other formats such as pastic letters and Letraset dry transfers. In the 1970s and 1980s Linotype licensed Helvetica to Xerox, Adobe, and Apple, making it one of the core digital fonts. With Linotype’s acquisition of D. Stempel AG in 1985, it became Haas' majority shareholder and closed the foundry in 1989, though it retained the rights to its typefaces. H. Berthold AG went bankrupt in 1993. Linotype was taken over in 2006 by Monotype Imaging Holdings, Inc. (Tolbert Lanston created the Lanston Monotype Machine Co. in Philadelphia in 1887 and patented the 1st hot metal typesetting machine in 1896; the London branch, set up in 1897, commissioned many of the 20th centuty's most popular fonts, including Gill Sans, Times New Roman, and Perpetua, and became Linotype's chief international competitor.)
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